HF 5849 
■D7 M32 
Copy 1 














- : -— - 












WINDOW 
DISPLAYS 

FOR DRUGGISTS 




1 












\ 






mmm 








SEC 


OND EDIT 


ION 










.., 




















CopightN 



COPYRIGHT DEPOSIT. 



WINDOW DISPLAYS 
FOR DRUGGISTS 



Comprising for the Most Part Engravings and Descriptions of Over a 
Hundred Attractive Displays which have been Designed and 
Used with Success by Druggists Throughout the 
Country, together with some Useful Sugges- 
tions on the Subject of Window 
Dressing in General. 



SECOND EDITION, 

containing 22 new displays. 



Edited by 

HARRY B. MASON 

Editor of the "Bulletin of Pharmacy " 



Published by 

E. G. SWIFT 

Detroit, Mich. 



*<y 



,-v 



Copyright, 1908, 1910 
by E. G. SWIFT 



Press of 

"The Bulletin of Pharmacy" 

Detroit 



g.CI.A259473 



CONTENTS. 



PART I. 

Page 

1. Trimming the Window 7 

2. A Calendar of Window Displays 12 

3. Another Window Display Calendar 15 

4. Points to Observe in Window Dressing 17 

5. Some Window Placards 19 

PART II. 

Descriptions of 110 Window Displays 21 to 178 



Index 179 



PREFATORY NOTE TO THE SECOND EDITION. 

The quick and ready appreciation accorded this little 
handbook has brought much gratification to the editor and 
his publisher. The first edition, which we deemed a large 
one, has been exhausted within two years, and we have 
found it necessary to bring out another. Seizing upon the 
opportunity to revise and improve the book somewhat, we 
have added another window display calendar to Part I, while 
Part II contains 22 descriptions and engravings of new 
trims. Some of the old displays have been omitted to make 
room for the fresh material, but we feel sure that the 
changes will be found to represent improvements — so much 
so that many purchasers of the first edition will doubtless 
desire a copy of the second edition also. 

The success of "Window Displays for Druggists" has 
encouraged us to bring out another practical book very sim- 
ilar in nature — "350 Dollar Ideas for Druggists." This is 
a companion volume of the same size and price. We believe 
that pharmacists will find it of equal if not greater value in 
the practical conduct of their business and in the search for 
new advertising and profit-making plans. 

H. B. M. 

Detroit, February 1, 1910. 



INTRODUCTION. 

During the writer's connection with the Bulletin of 
Pharmacy, which now embraces a period of ten years, 
a regular feature has been made of illustrating and describ- 
ing attractive window displays, and this service has been 
highly appreciated by subscribers of the journal generally. 
So much interest has been expressed in window advertis- 
ing, indeed, that readers have frequently asked us if we 
knew of any book on the subject which would prove perti- 
nent to the particular needs of the druggist. Xo book 
of the kind, however, has ever appeared, and under the 
circumstances it occurred to us that such a volume as the 
present one represents would meet with the appreciation 
of thousands of druggists who, having caught hold of the 
vital fact that the window affords at once the best and the 
cheapest advertising medium at their disposal, are anxious 
to make the most of the opportunity. 

The chief purpose of this book is to reproduce the 
greater number of displays which have appeared in the 
Bulletin of Pharmacy during the last decade. Every 
description of a display is accompanied by a photograph 
or a drawing; all of the displays were designed and actually 
used in the regular course of business by different druggists ; 
there are something over one hundred of them altogether, 
and they represent practically every class of goods in 
which the pharmacist is professionally and commercially 
interested. 

The displays are arranged alphabetically for purposes 
of ready convenience. It ought to be pointed out, how- 
ever, that many of the designs are interchangeable in char- 
acter and can be used for the exploitation of other goods 
than those specially employed. Thus there are several 
trims given under the general title of "specialty" windows 
which could be utilized for exhibiting almost any prepara- 



tion intended for self -medication. The "toilet cream" group 
of displays could with modification be employed for other 
classes of toilet products, and in general it might be said 
that almost every design is capable of adaptation to other 
requirements. When desiring to get up a trim for any 
particular product one should therefore look the illustrations 
over pretty carefully before he concludes that the book con- 
tains nothing which serves his purpose. In the index in 
the rear of the volume many cross-references are given, 
and we suggest that it be consulted when a design for a 
given article is desired. 

So much for the descriptions and illustrations of the 
individual window displays themselves. These all appear 
in Part II of the book, and we now desire to say a word 
regarding Part I. In this section we have reproduced from 
the Bulletin several papers discussing the general subject 
of window advertising in a practical spirit and giving sug- 
gestions of a valuable nature. Mr. Buchanan's article will 
be found full of meat to those who desire to make the most 
of the advertising advantages presented by the window. 
The "Calendar of Window Displays'' designed by Mr. Pep- 
per will prove of great service both in advising seasonable 
subjects for exploitation and in suggesting how one's win- 
dow advertising may be properly systematized throughout 
the year. Mr. Dorn's six pointers are worthy of being 
memorized by the window trimmer, while, finally, the collec- 
tion of pithy sentences given at the end of Part I will prove 
of practical service in the preparation of window placards. 

THE EDITOR. 
Detroit, March 1, 1908. 



PART I. 
GENERAL CONSIDERATIONS. 



1. TRIMMING THE WINDOW. 
By C. G. Buchanan. 

The value of window displays for advertising purposes 
has been proved for so long a time that it is hard to believe 
there are any amongst retail druggists who are neglectful 
of their opportunities in this direction, yet it is a fact. One 
can pass along the streets of almost any city or town and 
pick out a good percentage of drug-store show windows 
which are for trade-drawing purposes practically worth- 
less. The chief cause for all the poor windows is either 
carelessness, neglect, or laziness, and sometimes a mixture 
of all three. 

One should have his displays planned out days and even 
weeks ahead, and have all the necessary material gathered 
and arranged for a display before the former display is 
torn out. He should not expect to throw a few things in 
the window' and call it a display, for there are few articles 
in the druggist's stock so attractive that they alone will 
draw attention. It therefore becomes necessary to so 
arrange the display — to so ornament the window — that the 
passing public will be drawn to the articles it is desired 
to advertise. 

SOME OF THE NECESSARIES. 

A week is about the right length of time to run a display, 
and it is usually found best to do the work on a certain 
day, say Friday. The previous display should be taken out 
either the night before or the first thing in the morning. 



8 WINDOW DISPLAYS 

The windows should then be washed, and the trimmer, 
having as much of his display as possible prepared before- 
hand, can proceed with his work. The floor of the window 
should be raised some 4 or 6 inches above the sash in order 
to give a good view ; a beveled front platform is the best 
thing for this purpose, and there should be several of these 
in order that the one for the next week's display may be 
arranged and draped without disturbing the one in the win- 
dow. It will also be necessary to have light stands of dif- 
ferent sizes and shapes from time to time, but these can be 
built as needed. It is an excellent idea to save empty cigar 
boxes ; nothing can be more useful in building up founda- 
tions for displays, as they fit together like blocks and can 
be built into almost any desired shape. 

For drapings and coverings (that is, for the floor, sides, 
and top of the window), crepe paper and bunting or cheese- 
cloth are the most popular things, as they are the cheapest 
and easiest used and produce the best effects, but in addi- 
tion to these, one may use wall-paper, oilcloth, plush, cotton, 
excelsior, and many other things. These, however, are 
rarely used except to produce certain effects — for instance, 
if a snow scene is desired, we use cotton and diamond dust; 
if we want grass we color the excelsior green; and so on. 
As bunting is used in perhaps nine out of every ten dis- 
plays, one should learn to arrange it in the many ways 
which are so effective, such as pleating (both horizontal 
and vertical), tufting, puffing, smocking, and looping, and 
should learn to do these not only with tacks but with a 
needle and thread, as there is not always a surface to tack to. 

IN LIGHTING A WINDOW, 

electricity alone should be used, as it is the only light that 
will not sweat the windows in the winter-time. The ceiling 
lights should have strong reflectors above them, and in addi- 
tion to these lights there should be several attached to long, 
flexible cords, so that they can be moved to any part of the 
window ; this will increase the effectiveness of many a dis- 



FOR DRUGGISTS 9 

play. Colored lights are oftentimes wanted or could be 
used to advantage, and as it is not always possible to rent 
the globes, one can readily make them himself by dissolving 
two ounces of bleached shellac in a quart of wood alcohol. 
A little of this can then be stained with any desired color of 
aniline, and the globes stained with it. When one is through 
with them the stain can be removed by wood alcohol, and 
the globes can be used clear or stained over and over again. 
The producing of 

SCENIC EFFECTS 

is not so difficult as the casual observer would imagine. 
Latticework is made with cotton tape so stretched as to 
form squares, and twined with smilax or other green vine. 
Fences can be made from either brown tape, wood, or wire. 
Pillars and columns of all descriptions are easy if two pieces 
of wood of the desired shape are cut for the ends and joined 
together by a support of the proper length. Good, heavy 
paper is then stretched from one end to the other and cov- 
ered with alabastine or marbled oilcloth. 

The same materials can be used for making almost any 
surface providing a suitable frame is first constructed and 
then covered like the slide scenery in an opera house. Stone 
bridges and old mills are made by covering the sides with 
cardboard and then marking it into squares with a knife. 
It should then be painted a stone color. Shingle or weather- 
board effects can be obtained by scouring with a knife a 
piece of pine wood and then painting it. In fact, almost 
any effect can be obtained if one will but spend the necessary 
time to produce it, and one does not have to be a genius to 
do it either, as a few trials will show. 

And there is no question but what such things pay, and . 
pay handsomely. As a setting for a perfume display, a 
prettily arranged garden scene, with latticework in the back- 
ground, will sell pounds where the perfume bottles alone 
will not sell ounces. No one would doubt that an old mill 
with its wheel run by clockwork, and with a label, "Grinding 



10 WINDOW DISPLAYS 

drugs for Blank's Sarsaparilla," as a companion piece to the 
sarsaparilla display, would draw more attention to the goods 
than they alone would. A "Road to Health" will draw 
trade, and along in the fall an old country fence with a sign 
on the boards calling attention to Blank's Cough Cure makes 
a good background for a display. A spider's web of tooth- 
brushes filling the entire window may take more time to 
arrange, but it will surely sell more goods than if they were 
simply placed in baskets on the bottom. But there should 
be an effort made to have the settings correspond to the 
display; otherwise they had better be let alone and just plain 
drapings used. For instance, in a spice display have some- 
thing Oriental or of Moorish design ; or again, a window 
full of housecleaning materials would be set off by having 
the floor carpeted and the walls and ceiling hung with 
paper, and all else arranged to make it look as much like a 
room as possible. 

OTHER SUGGESTIONS. 

It should be the aim to advertise but one subject at a 
time, and one should avoid patent medicine displays as much 
as possible, for he can fill the space with goods which are 
much more profitable. There should be a price card on all 
displays ; some people do not like to ask the price, and yet 
they would often buy goods if they knew what the price was. 

Occasionally a display which has no reference to the 
store or its stock is a good thing, and if the display is good, 
will often advertise the store more effectively than a dozen 
stock displays. The time for these is on some special day, 
such as Decoration Day, the Fourth of July, or Thanksgiv- 
ing. Any sort of a convention gives good opportunities. 
The idea is to have the window so decorated as to corre- 
spond with the spirit of the occasion. 

Articles of special interest, like club trophies, war relics, 
etc., usually make interesting displays which can be used 
occasionally. 

It is a wise plan to keep a special window display book 



FOR DRUGGISTS 11 

where ideas can be recorded for future use. Rough 
sketches and descriptions of other people's displays should 
also be jotted down, and articles of interest on the subject 
should be cut out and pasted in. There is no question but 
what any one can develop into a successful window trimmer 
if he will but plan and prepare beforehand, study the details, 
and keep at it. 



2. A CALENDAR OF WINDOW DISPLAYS. 

By J. T. Pepper. 

"What shall we dress the window with to-day?" is a 
question often asked in many drug stores when the weekly 
window cleaning day comes round. 

Without preparation it is sometimes a difficult question 
to answer quickly and wisely. Care and forethought must 
be exercised if we are to obtain the most benefit, and actual 
preparation, to some extent, at least, should be made the 
day before. 

Friday is our day for cleaning the window and putting 
in a new display. If we are making a special display, or one 
that requires considerable preparation, we endeavor to do 
this preparatory work on Thursday afternoon, and have the 
display ready, so far as we can, to put into the window 
after cleaning it on Friday morning. If there are any cards 
to print for the trim they are done in advance. 

With the object of always having something to put into 
the window every Friday we have been making a time- 
table or calendar of window display subjects for every 
Friday in the year. It is not to be taken for granted that 
we follow this schedule without variation. It would be 
folly to do that. We always try to put in window displays 
with the express object of selling goods. For example, in 
this time-table, we have talcum powders down for the first 
week in August. We expect hot weather, but if the weather 
should be cool, it would not be wise to talk talcum powder 
just then. Better put something else in the window, and 
display talcum powders when it turns hot again. 

Then, again, Easter does not come at the same date each 
year, and consequently a change has to be made here; we 
know, however, that we will dress the window with per- 
fumes for Easter, and so we are prepared to make the 
change. 

Not all the things in a drug store that a window 



O £ n P-> 
O 03 t3 . 



55 £ w w 



U 91 (J 

z • Si *G 

D £ -7! ° « 

n g a.'s ^ 

u 3 G en 

g en oj G 



O W w H 



2 

u 

2 - 13 



-X3 • 

° r3 

a a * 



n «2 .3' •'S 

W Ph a W 



g5 3 

*^ ^ 

§ 3 £ 2 

U -^ o "i ^ 



• G O ;-, .s 

I-l O Kyi 

O G co ^ 



Ph CO 



CO 

o 2 



3 £ U £ W 



-III 

.— < to > O 
03 o3 > O 

H tj O H 



DC : 

> g .i 

o ° : 

z ^ * 

bp , 



£ PI ^ o 

O < PH a 



>H O > 

< co G G 

Z G § . 8 « 

< ° - rt ^ - 

o .^ cu G 2 

S T3 S £ § 

£ O .2 .G ,d 

o u ^H a 



CO r-< 

£ ,G 
Ph o 

8 § 

oi Ph5 

.'G PnrQ 

* "' JT 2 
a. a * 

$ & 3 £ 



a .a 
O Q 



G G 
O O 



. co 

>" CO CU 

-» « g Ph 

bJC iS £ £ O 

■8 1 o g £ 

03 cu O > o3 

Ph 02 Ph O PQ 



S to Ph 

P G O 

y -° K 

O «HH ,G 






14 WINDOW DISPLAYS 

display can be made of are enumerated in this calendar. 
When other things, more urgent for display than the one 
mentioned for any week in the calendar, demand recognition 
in the window, then let the calendar suggestion hold over 
till a more opportune time. 

By following a regular plan or system, window dressing 
will be found easier, more satisfactory, and very much more 
profitable. Window displays demand and require consider- 
able thought and attention, and it pays to study them care- 
fully. 

If other retail pharmacists will start with this schedule 
of mine as a basis, and then arrange one of their own from 
the displays they make through one year, they will find the 
revised calendar a wonderful guide and assistance during 
the second and following years. 

System, and a method for following the system, go a 
long way in helping to make drug-store window displays 
pay. Haphazard displays seldom sell many goods. Dis- 
plays that have some plan or object behind them are the 
ones that sell goods and accomplish results. 



3. ANOTHER WINDOW DISPLAY CALENDAR. 

J. Earl Taylor, Ph.G., of Gridley, 111., published in a 
recent issue of the Pharmaceutical Era a calendar for win- 
dow displays. Trims were suggested for each month in the 
year. Mr. Taylor has often added to the list as necessity 
demanded. Kept in a convenient place it will be found of 
considerable service. It includes articles that are more or 
less applicable to every locality. 

January — Cold cures, cough medicine, chamois, hot- 
water bottles, stationery, toilet articles, post-cards. 

February — Cough medicine, cold cures, lozenges, toilet 
articles, Washington's Birthday pennants, arm bands, and 
pennants. 

March — Baseball goods, Easter trim, perfumes, marbles, 
St. Patrick cards, spring tonics. 

April — Stock food, blood medicine, ball goods, April 
Fool articles, paints, oils, brushes, varnishes, house-cleaning 
necessities, ammonia, disinfectants, borax. 

May — Spring medicine, household necessities, post-cards, 
sporting goods, souvenir books, photograph supplies, high 
school trims. 

June — Graduates, paints, tooth-brushes, foot powder, tal- 
cums, brushes, stationery, high-school-class window, post- 
cards, fishing tackle, flags, bunting, and other seasonable 
articles. 

July — Fourth. Trim, flags and buntings, bandages, 
tapes, court plaster, liniments, talcum, fly poisons, stock 
foods, baby articles, post-cards, sulphur. 

August — School supplies, sundries, diarrhea medicine, 
toilet articles, fly paper, foot powder, mosquito lotions. 

September — Corks, spices, household needs, cleaning 
sundries, school supplies, post-cards, Labor Day pennants. 

October — School supplies, paints, toilet articles, combs, 
brushes, football goods, sheet music trim. 

2 15 



16 WINDOW DISPLAYS 

November — Hand lotions, rubber goods, hot-water bot- 
tles, syringes, Thanksgiving trim, stock foods, post-cards, 
magazines. 

December — Christmas trim, New Year's display, station- 
ery, books, magazines, post-cards, hair-brushes, hot-water 
bottles, rubber gloves, soaps, bath powder, decorations for 
Christmas, tissue-paper, novelties, crepe paper stickers, 
music supplies. 

There are many other things to be added to these lists, 
such as special-day trims, birthdays of great men, fair days, 
county fairs, lodge conventions, and class meets, all of which 
demand special attention. 



4. POINTS TO OBSERVE IN WINDOW DRESSING. 

By David R. Dorn* 

Next to a store paper, the best advertising trump-card 
which the city druggist has is his window. He has only 
just begun to realize this, and the consequence is that win- 
dow advertising is now rapidly becoming an art. This is 
a kind of advertising which costs practically nothing except 
time and patience, and which can and should be made to 
yield large and handsome returns. The city druggist who 
does not realize this is simply a back number of the worst 
mossback variety, and does not deserve to be rescued from 
his oblivion. The store paper goes with your message to 
people in their homes ; the window reaches people in the 
street, stops them, holds their attention, attracts and inter- 
ests them; and either sends them in to buy the thing dis- 
played or keeps you and your store in mind so that it is 
thought of when that thing, or some other thing, is wanted. 

There are certain principles which should be held in 
mind in all window advertising: 

1. It seems quite superfluous to say that the windows 
should be first of all scrupulously clean and neat, and yet 
so many windows are anything but this that the advice is 
rendered necessary. 

2. The designs should be changed frequently. A design, 
unless unusually attractive, should never be allowed to 
remain in the window over a week at the most. If people 
see the same thing every time they pass the store they soon 
cease looking; if they see something new every few days 
they get into the habit of stopping to see what you have. 

3. Put only one thing, or one class of things, in the 
window at a time, and concentrate interest on that. A 



*From a prize article printed in Merck's Report some years 
ago. — Editor. 



18 WINDOW DISPLAYS 

window display should be like a picture; it should tell a 
definite story and create a definite impression. There should 
be one central idea, otherwise only confusion results, and 
the observer carries away nothing with him that will cling 
to him. 

4. Make the display attractive. Put crepe paper on the 
floor of the window so as to convey a rich effect. Do not 
hesitate to go to some expense and trouble if the design 
calls for ornamentation. Make the best possible design you 
can. It is poor policy with window advertising to go half- 
way, to do anything which is merely "good enough." It 
should be the best you can do every time. 

5. Always put a price mark on goods displayed in the 
window. Never omit this. The man who puts no price 
tag on his window goods loses half the benefit of his ad., 
for people always want to know what a thing costs before 
they buy it, and they will not, as a rule, come into the store 
and ask the price. 

Realize thoroughly that in your windows you have a 
chance to go right out into the street, buttonhole the passers- 
by, tell them of something you sell, and so please them that 
they will remember who you are, even if they do not buy 
anything. It's a fine opportunity ; don't miss it ! 



5. SOME WINDOW PLACARDS. 

Reid, Yeomans & Cubit of New York City are very 
successful window advertisers. Their store is down on 
Nassau Street in one of the most crowded sections of lower 
New York. Thousands pass by the place every hour. The 
chance is an excellent one for attractive window displays, 
but they must be so designed that they can be taken in on 
the run — for your average New Yorker is in an awful rush ! 
Window placards are used to a considerable extent, and 
many of them are notable for their conciseness and excel- 
lence. Here are a few which were used by Reid, Yeomans 
& Cubit some years ago : 

Violet soap — reminds you of the woods. 

Transparent glycerin soap. 

Candy — our candy corner is full of good things. 

Bay rum — from St. Thomas. 

Egg shampoo cream. 

Cold cream — five kinds. 

Glycerin jellies — five kinds. 

Tube tooth-paste — a good friend in your grip. 

Toilet magnesia — good for shaving. 

Lavender salts— both handy and fragrant. 

Military hair-brushes — some for the man with plenty of hair, 
others (softer) for the man whose hair is thin on top. 

Sponges — prices as low as where the sponges come from. 

A tooth-brush from start to finish — bone in the rough and all 
stages of manufacture to the finished brush displayed. 

Combs — fine, coarse, pocket — how's yours? 

Castile soap from Spain — just pure, good soap. 

Many smokers buy their smokes here. 

We sell more chamois skins for less money and pay more for 
them than most druggists. 

Violet witch-hazel — after shaving — violet ammonia — makes the 
bath pleasant. 

This is a money-back store if you are not tickled with what you 
buy. 

19 



20 WINDOW DISPLAYS 

Antiseptic Pearl Dentifrice — makes teeth shine like pearls. 

Tooth-brushes — at the druggist's in Squedunk 25 cents — here 
10 cents. 

Hand scrubs — guaranteed to remove more than 5 cents' worth 
of dirt or money refunded. 

Sponges — sponge on us to-day. 

Sponge bags for travelers. 

Leather-covered flasks — for your vacation trip. 

Manicure goods — finger helps — keep your nails in shape — all the 
"iixins" here. 

Corkscrews — handy when you need. 

Triplicate mirrors — make shaving a pleasure. 

Magnifying mirrors — one side big, the other natural — big side 
hunts out defects, other side shows you as you look. 

Bath belts — good friction makers. 

Shower bath rings. 

Complexion brushes — freshens up a bit. 

Pretty perfume atomizers. 

Best razor in town for a dollar — guaranteed. 

Bath gloves — bath brushes — bath everything here. 



PART II. 
DESCRIPTIONS OF WINDOW DISPLAYS. 



1. ARTICLES ADVERTISED IN THE MAGAZINES. 

Designed by J. Albert Kiedaisch. This display appeared in the 
pharmacy of Wilkinson & Co., Keokuk, Iowa. It consisted of 




1. Articles Advertised in the Magazines. 

magazine announcements advertising articles which are sold by the 
drug store. 

Three steps were built in the window. The first was about 
nine inches high, a foot deep, and rested on the floor of the win- 

21 



■ v en 


VLg 


et^ii 


^ mm ibjinn m ,, 


^imi i 


. | fii fe* 


c 4^ll 


^WJg * • 


^•<BmI 


. I ^r 




^s^l 






u|jm VHHP 1 




jk? *5 bI 






IhS > WE 


is" 



WINDOW DISPLAYS 23 

dow about six inches from the glass. From this rose the other 
steps. The structure was covered entirely by maroon velvet — not 
stretched tight but drawn loosely and carelessly. On the steps and 
floor of the window were placed the miscellaneous articles coupled 
with their respective advertisements. Everything bore a price ticket. 
The background consisted of pink tarlatan on which many adver- 
tisements were posted. 

Only two signs appeared in the window. One read : "We Are 
Up-to-Date. We carry all the articles advertised in the current 
magazines." A second placard bore the announcement : "We will 
order for you anything not in stock." 

This window attracted much attention and proved a great suc- 
cess for two distinct reasons. It connected this store directly with 
the magazine advertisements and served to impress people with the 
up-to-date nature of the stock. Much of the attractiveness of the 
window, due to the color scheme, is unfortunately lost in the re- 
production. 



2. BABY SUPPLIES— THE "WHOLE DAM FAMILY." 

Designed by J. Albert Kiedaisch, for Wilkinson & Co., Keokuk, 
Iowa. The central idea is well stated in the sign at the top. "The 
Whole Dam Family likes our Baby Foods." For the benefit of 
readers who may be shocked by this sentence it ought perhaps to 
be explained that "the Dam family'' have become famous during 
the last year or two from being featured on comic post-cards and 
the like. Just below the sign in the Kiedaisch window are the 
heads of the famous group, each one sucking a bottle. Even the 
dog has a nipple in his mouth. The pictures of the various char- 
acters are printed in natural colors on a strip of what paper about 
two feet wide and running the entire width of the window. 

Four steps carpeted with dark-red velvet extend from the glass 
to the background. The articles on exhibition include divers baby 
wants, various foods and soothing syrups, nursing bottles, food 
warmers and teething rings. The six nursing bottles used by the 
Dam family are filled with white liquid to represent milk. From 
these containers run long nursing tubes extending to the mouths 
of the "Dam" people. Every article bears a price ticket cut in the 
shape of a baby's head. The whole arrangement is ingenious and 
must have attracted no end of attention. 



WINDOW DISPLAYS 25 

3. BATH REQUISITES. 

Designed by the Hegeman Corporation of New York City. A 
glance will show that this exhibit was made up of sponges, towels, 
brushes of all kinds, talcum powder, various toilet preparations, and 
bathing appliances and articles of every character. There is such a 
bewildering variety of goods shown that the details of the engrav- 
ing are not sufficiently distinct to do the display entire justice. 
Suffice it to say, however, that the window attracted so much atten- 
tion that the street was nearly blockaded at times. The parasol held 
by the female figure in the window was made of chamois, as were 
also a portion of the garments worn by both figures. The heads of 
the figures were, of course, constructed of sponges. 

4. CAMPHOR. 

Designed by J. T. Pepper, Woodstock, Ontario. On a small 
brass stand was placed a large bell of gum camphor. This was 
surrounded by one-ounce, round-cornered, square blocks of com- 
pressed camphor. This was all save the legends. These tell their 
own story. The large bell of camphor weighed 13^ pounds when 
put in the window, and — interesting fact ! — after being exposed for 
a week was found to have lost three-quarters of a pound. In con- 
clusion it may be remarked that displays which call the attention 
of the people to the purely pharmaceutical aspects of the pharma- 
cist's occupation, and which tell them something about his art, 
richly deserve a considerable share of attention in the general 
scheme of window advertising. 

5. CANDY NO. 1. 

Designed by J. Harry Sparks, Jackson, Michigan. This display 
was of Lowney's candy, and was made during the convention some 
years ago of the "United Commercial Travelers." The color scheme 
was blue, white, and yellow, these being the colors adopted by the 
organization. 

The pleasing design shown in the center, embodying the words 
"Lowney's Candy" with their floral setting, was cut out from col- 
ored paper and attached to the window-pane itself. The little com- 
mercial traveler at the left, who carries a traveling bag in one hand, 
and in the other a box of Lowney's candy ("The Daisy Kind"), 




5. Display of Candy by J. Harry Sparks. 



WINDOW DISPLAYS 29 

was pasted onto the window-pane also. Incidentally it may be 
noted that it is the "Daisy" brand which gives the key to the floral 
design. 

As will be seen from the illustration, a flag was draped about 
the window on the outside. Packages of Lowney's candy of dif- 
ferent sizes were grouped on the window floor, and the customary 
Lowney placards were placed in the rear of the window. 



6. CANDY NO. 2. 

Designed by Robert M. Kettl and Frank McGinnity. This dis- 
play appeared in the window of Daugherty's Pharmacy, Jeannette, 
Pa. The designers made the boy by taking a narrow box and nail- 
ing thereon two strips for legs. They stuffed him with straw and 
"rigged" him out with a sailor suit, stockings, shoes, and other 
apparel. The head was borrowed from a clothing store near-by. 
The girl was a large-sized fancy doll, and she and the boy stood 
in an affectionate pose. 

The fence was nothing more than lath strips, all of even 
lengths. It was not painted because the natural color looked more 
real. In front of the fence was a road made of kisses, and back 
of this appeared a miniature forest. The trees were trimmed with 
kisses, but unfortunately this feature does not show plainly in the 
photograph. The Cupids pasted on the window were cut out of 
various advertisements. Three of them are reaching for a kiss. 
The sign "Real Kisses" was made by holding pieces of cardboard 
together with lath strips and covering them with red crepe paper. 
The letters were formed by pinning kisses to the paper. 

This display sold 1%. barrels of kisses in less time than it took 
to trim the window, which was 3% hours. It netted the store a 
profit of $12.65 and developed what has proved to be a steady busi- 
ness in this one article. 



7. CASTILE SOAP NO. 1. 

Designed by B. S. Cooban, Chicago, Illinois. No particular 
effort was put forth to make the display original in character ; on 
the contrary, simplicity and economy were kept in view. Boxes of 
various sizes were first placed on the window floor, and white 



WINDOW DISPLAYS 31 

cheese-cloth was then made to cover them and the floor itself. The 
long bars of Castile soap, as well as the sawed-off cakes, were 
scattered about the window in a hit-and-miss style. 

The large placard bore the legend : "A Castile Soap Chance. 
The Finest and Rarest Castile Soap which Sells Regularly at 10 
Cents a Cake. This Week Only 8 Cents!" Other cards read as 
follows: "Castile Soap for Cleaning Cuts and Wounds;" "Castile 
Soap — the Best Soap for Baby's Bath;" "Castile Soap for Delicate 
Skins;" "Castile Soap — the Best Shampoo;" "Castile Soap is an 
Emblem of Purity." 



8. CASTILE SOAP NO. 2. 

Designed by J. T. Pepper, Woodstock, Ontario. This display 
was constructed of 2]/ 2 pound bars of Castile soap arranged in the 
form of a semi-circle or court. 

The bars were fastened together with small hardwood pins 
such as are used by butchers. It took over 100 bars to make the 
display. There were two placards in the window, as may be seen 
from the photograph. The upper one read as follows : "In the 
Court of Cleanliness." The lower placard bore the following 
legend: "Bars of Soap, Pure Castile, Imported from Sunny France. 
2 j Cents a Bar." 

Such a display as this is simple, easily made, entails no 
expense, and is yet forcible and interest-compelling. 



9. CHRISTMAS WINDOW NO. 1. 

Designed by H. M. Curry, Ellsworth, Kansas. This Christmas 
display is one of Mr; Curry's happiest conceptions. It represents 
a mountain scene. Everything is covered with snow. In the back- 
ground are seen the high peaks of a distant mountain range, de- 
picted on the canvas as the result of Mr. Curry's cleverness with the 
brush. Making their way up the sides of the mountain at different 
places in the foreground are seen wagons and carts drawn by toy 
horses and other animals. Scattered about on the mountain are 
sheep, goats, and other animals, while here and there is a house. 
The foreground is filled with numerous kinds of Christmas toys. 
Mr. Curry assures us that at night, when the window was lighted 



— : ; ! '"'" 



►*•* i 




34 WINDOW DISPLAYS 

up, the scene from across the street was such as to dazzle and 
attract the passer-by. 

Now for the modus operandi : The arched curtain in the fore- 
ground was G by 12 feet in size, with an opening 3 by 10 feet. It 
was made of muslin stretched on a wood frame and painted white 
with alabastine. The designs in relief on it, and the name "Sher- 
riff's," were painted with alabastine and gilded with gold bronze 
blown into the design while still wet, by means of an ordinary 
insect powder gun. The mountainous background, to which refer- 
ence has already been made, and which was 4 feet back of the arch, 
was painted in water colors on muslin to represent snow-clad moun- 
tains. The icicles seen more or less clearly in the engraving were 
made by dipping strands of cotton into a hot solution of alum and 
water, and sprinkled while wet with diamond dust to produce a 
sparkling effect. They were suspended from wires stretched across 
the window. 

The body of the display was made by arranging boxes and 
boards so as to produce the effect of hills and roads, all of which 
was covered with cotton-hatting and sprinkled with diamond dust. 
Here and there was an occasional cedar tree, fastened to a box 
or made to stand up on a wood base. The toys, etc., were arranged 
as may be seen in the engraving", and the whole was brilliantly 
lighted from above by means of reflecting electric lights. 



10. CHRISTMAS WINDOW NO. 2. 

Designed by II. M. Curry, Ellsworth, Kansas. This Santa Claus 
castle window "caught on" decidedly. The background was made 
of decorated tissue-paper arranged on a wood frame. The moun- 
tain of snow in the center, surrounded by the castle, was constructed 
of boxes and boards over which cotton was placed, this being 
sprinkled with frosting. The castle was built of boxes and card- 
board, and painted white with alabastine, sprinkling frosting on 
while still wet. The effect was very beautiful. 

The letters, "Santa Clans' Castle" were painted on the outside 
of the window-glass with a water color made of zinc oxide and 
gum water. The wreath of holly, barely seen in the illustration, 
was likewise painted on the glass, the same water color being used 
with the addition of chrome green and carmine for the green and 




2 



36 WINDOW DISPLAYS 

red of the wreath. Christmas goods were displayed about the 
window as seen in the photograph. 

The placard in the lower left-hand corner of the window bore 
this legend : 

Joyful children are we, 

It makes us happy to see 
The pretty things that Santa Claus brings, 

For tots like you and me. 

This card was of course borne in the hands of a large doll. Over 
the entrance to the castle was the legend, "Santa Claus." Just out- 
side were several deer belonging to the famous inhabitant of the 
castle. The cotton was placed over the bed of the window and 
sprinkled with frosting so that a very brilliant snow-like effect was 
produced. 

11. CHRISTMAS WINDOW NO. 3. 

Designed by H. M. Curry, Ellsworth, Kansas. The lattice 
shown in this window was placed close to the glass — only six inches 
from it. It was made of lx>^ wood, painted white with alabas- 
tine, and twined with vines of artificial ivy and holly. The arched 
background in the rear of the window, seen through the lattice- 
work, was made of canvas stretched over a frame, and was painted 
a canary yellow with alabastine. The bells were of the customary 
tissue-paper sort, and all except the one in the center were of a 
bright red. The central one was white. Christmas tree ornaments 
were hung here and there on the latticework to brighten things up. 

A feature of the trim was a Christmas calendar hung from the 
center of the arch. It was made especially for the occasion. Across 
the top was the legend : "Count the Days." All of the figures on 
the calendar proper were black except those representing Christmas 
Day, the 25th of the month ; these were of a bright red, and there 
was the representation of a hand pointing to them with outstretched 
finger. 

In the center of the window floor we placed a revolving table 
bearing a number of toys. This we kept revolving by means of a 
small motor underneath. Elsewhere in the window Christmas 
goods were arranged on shelves and boxes covered with red paper, 
and many things were also laid on the floor of the window. 



WINDOW DISPLAYS 39 

12. CHRISTMAS WINDOW NO. 4. 

Designed by G. Claude Drake, Ann Arbor, Mich. At the ex- 
treme left of the window was a little leg house, and on the roof 
near the chimney was "Old Santa" himself. Gifts were shown as 
rolling down the roof out of his pack and into the snow-banks 
represented on the floor of the window. The figure of Santa Claus 
was made by stuffing a child's fur coat with excelsior, and using a 
mask obtained at a notion store. A fur cap surmounted the whole. 
The figure was then so fastened to the roof that Santa was made 
to be looking down the chimney. The snow-banks in the bed of 
the window were made by covering little piles of excelsior with 
white cheese-cloth and absorbent cotton. A generous variety of 
Christmas gifts were then scattered among the snow-banks. 

The snow-storm effect was secured by fastening bits of absorb- 
ent cotton to the window with library paste. Additional snowflakes 
were suspended from strings so that they were put in motion when- 
ever the front door was opened, or a draft was produced in any 
other manner. Mr. Drake suggests that this motion might be made 
continuous by means of an electric fan or some other device. This 
would give added realism to the effect. The word '"Greetings," 
shown in the center of the engraving, was made of cotton pasted 
onto the window. A few sprays of holly were sprinkled about and 
pinned to the twisted spirals- of crepe paper seen in the engraving. 
The latter look in the picture as though they were next to the 
window-pane, but as a matter of fact they were arranged in the 
rear of the window. 

A lamp was kept burning inside of the log cabin, and the 
windows were thus always bright. This gave the window a realistic 
effect after the store was closed at night and all other lights were 
out. The light from one window of the cabin shone out across 
a pile of wood. The construction of the log cabin was not as hard 
as it might seem to be. Several hollow limbs were found by Mr. 
Drake, and these when split formed "logs" which were easily 
handled. The chinks were stuffed with green excelsior and cotton. 
The chimney was a pasteboard box so painted as to represent stone, 
as was also a part of the cabin wall, which dees not show in the 
engraving. The side wall of the store back of the cabin was cov- 
ered with black paper, and on this were tacked a moon and some 
stars. A lamp with a reflector threw the light on the wall in 
such a manner as to make the effect pronounced. 



40 



WINDOW DISPLAYS 
13. CIGAR WINDOW NO. 1. 



Designed by B. S. Cooban, Chicago, III. The figure seen in the 
center was a plaster-of-Paris one, and it was placed astride a small 
bamboo chair. The boxes, encircling the "coon," were nailed to an 
arch made of three-quarter-inch boards, the, points of which rested 




13. Cigar Window by 



S. Cooban. 



on two boxes, 12x18 inches in dimensions, and were fastened there 
by cleats. The construction of this arch is shown in the accom- 
panying diagram. Both the arch and the boxes at the base were 
covered with red cheese-cloth. The empty cigar boxes were tacked 



FOR DRUGGISTS 



41 



to the arch, and care was taken that they were evenly spaced. Some 
open boxes of cigars were displayed in front of the figure, and a 
column of full boxes arose from the base of the arch on either side. 
The boxes supporting the arch were covered with the signs seen in 
the illustration. 



14. CIGAR WINDOW NO. 2. 

Designed by O. F. Hittenmark, Pomeroy, Iowa. This window 
was devoted to the exploitation of a well-known brand of cigars. 
The central column was made of one length of 8-inch stovepipe, 
covered with green ingrain paper. The base and cap of the column 




14. Cigfar Window by O. F. Hittenmark. 



were sawed out of one- and two-inch boards and were painted white 
with alabastine. The two arches were constructed of full boxes 
of the cigars fastened on the back with slats. The remainder of 
the window explains itself. The several placards were of course 
contributed by the manufacturers themselves. 



WINDOW DISPLAYS 



43 



15. CIGAR WINDOW NO. 3. 

Designed by J. T. Pepper, Woodstock, Ontario. This display 
was intended to represent a fireplace. It was made entirely of cigar 
boxes — some full and some empty. The columns ateither side were 
built of square boxes, while the extension shelf across the top (not 
clearly indicated in the engraving) was made of flat ones. On 
this shelf was placed a cigar case with some cigars in it, while near 
by were an ash tray, a match-holder, etc. 

Across the fireplace at the back was stretched red tissue-paper, 
while wood was made to lean up against this in Indian fashion. 
Behind the tissue-paper four night lights of olive oil were kept 
burning, which gave a very realistic touch to the picture, especially 
after dark in the evening. The card at the left bore the following 
legend : "Smoke Our Cigars at Your Own Fireside." 

16. CORN CURE NO. 1. 

Designed by Boericke & Runyon, Los Angeles, Cal. The arti- 
ficial limb was borrowed from a neighboring instrument dealer and 




16. Corn Cure Window by Boericke & Runyon. 

was properly dressed with a trouser leg. The top was draped with 
cloth for obvious reasons. The foot was swathed in a great bandage 
of cotton and cloth, and was made to rest upon a support. An open 




n 



WINDOW DISPLAYS 45 

razor lying near the foot told an eloquent story. The sign may 
easily be read in the engraving, and it interpreted the display. 
Under it several dozen bottles of the corn cure were exhibited. 
Positively nothing else was put in the window, except the ana- 
tomical diagram of a corn shown at the left ; and thus the attention 
was concentrated upon the one idea of the display — there were no 
distracting features or legends. Boericke & Runyon tell us that 
the trim sold for them during the first week a gross of corn cure 
at 25 cents a bottle, and of course a permanent trade in the article 
was built up which affected the sales of the future as well as those 
of the passing week. 

17. CORN CURE NO. 2. 

Designed by B. S. Cooban, Chicago, III. A miniature corn crib 
like this can be easily constructed. It does not need to be highly 
finished or very artistic, but must be larger at the top than at the 
bottom, and should rest on small posts. To be more realistic, small 
tin dishes should be inverted on the posts ; for this purpose he used 
the little pans that come with sulphur candles. These tins in the 
real crib are to keep the rats from climbing up the posts to the 
corn. Give the whole a coat of white paint, and with a marking 

brush letter a sign on the slats like a fence sign, "Go to 's 

for Corn Cure." Make the crib of strips of thin boards, two or 
three inches wide, and cut from packing boxes. Have it cone- 
shaped, as shown in the illustration, 36 inches long and 13 inches 
wide at the top, and 30 inches long and 7 inches wide at bottom. 
The height should be about 20 inches. This will hold about a 
bushel of corn. After putting the corn in the crib, put on the top, 
and the thing is complete. Place the crib in the center of the win- 
dow, and make a plentiful display of empty cartons of the cure on 
the bottom of the window and on top of the crib. The sign sus- 
pended over the crib is made by nailing to a board ears of corn 
cut various lengths so as to form the word "cure." 

18. CORN CURE NO. 3. 

Designed by Harold Lawton, Crewe, England. This corn cure 
is put up in envelopes 3^ by 4>^ inches in size, bearing a fac- 
simile of the ivy leaf printed in green. These envelopes figure very 
largely in the window display. In the center of the window was a 



WINDOW DISPLAYS 47 

large tray filled to overflowing with real sprigs of the ivy plant, 
kept fresh and green by water. This feature of the display, how- 
ever, does not show in the illustration. The remainder of the 
window floor was covered with the empty corn-plaster envelopes, 
scattered about rather promiscuously, some of them laid flat and 
others made to stand up like a picture frame. 

The central feature of the window was a large plaster model 
of a foot placed upon a glass shelf about half-way up the window- 
pane. Attached to the ankle was a piece of the corn plaster with 
a portion of the muslin covering detached in order to show the 
plaster proper. Elsewhere on the shelf were the ivy-leaf envelopes. 
These envelopes were also made to form the background and sides 
of the window, and altogether they produced an effect which could 
scarcely fail to attract attention. They were suspended along the 
sides and back of the window by means of twine or string. 

To complete the display several placards were used, among 
them being four "ivy leaf cut-outs furnished by the printer 
who gets up the envelopes. The chief show card was placed in 
the center of the window and suspended just beneath the plaster 
model of the foot. As will be seen, this had fastened to it an old 
razor badly nicked and used up, and the injunction was as follows : 
"Don't use this. It will injure your foot. Try this" — a corn-plaster 
package being pasted on the card to indicate the latter point. 

There were several other show cards in the window, but they 
can be read easily from the photograph. They were all home-made. 
The color scheme of the window does not show at all in the photo- 
graph, and an adequate idea of the attractiveness of the trim is 
therefore not gained from the engraving. All of the envelopes 
bore the ivy-leaf facsimiles in characteristic green, and the contrast 
between the green and white was markedly compelling. 

19. CORN CURE NO. 4. 

Designed by W . H. Watson, Henderson, Ky. The cabin which 
is seen to occupy a prominent position in the display was made of 
corn-stalks. The roof was formed of grains of corn glued to card- 
board; and the stovepipe was a discarded corn-plaster box. The 
fence in the rear was built of corn-stalks and fastened together 
with pins. The four trees shown in the view were the tassels from 
the corn, and the sign which is seen upon the tree at the left bears 
this legend: '''No Hunting Allowed unless yon, are Hunting for 
4 



' 


iv/J 




1 


7! 


fO w 


- ^.fflll 


Ir? 


po tc 


Ijibm 




r o 


it 


T 


a: 


■ 

o 




4& 

In* 

u 


u 


3 


TVs. 1 


1(1 


%, *■ 


KfifflflJ 




^ a 


Eiljijij;: • 


2 




III 






Jrfl 





WINDOW DISPLAYS 49 

McFarland's Corn Plaster." In the front of the window the words 
"Sure Corn Cure" were formed of pop-corn — that is to say, the 
word at either end was, while the word in the center, "Corn," was 
devised of grains of unpopped corn. The figures in the window 
were cut from advertising matter, while the background and the 
cloud effects were produced by means of tinted chalk and water. 
These effects, however, are not very well shown in the illustration. 
Of course the central idea of the display was to have every 
possible change rung on the word ''corn." The house and grounds 
were made of various portions of corn; and every effort was made 
to make the word stick in the mind of the observer. 

20. COUGH CURE NO. 1. 

Designed by Charles A. Miller, Boston, Mass. The novelty of 
this window rests in the checker-board in the center. This was 
made in the following manner : The center of the board, a space 
sixteen inches square, was first painted black. Then the white 
squares were made of the cold-tablets ; these, being put up in boxes 
two inches square, were well suited to the purpose. The checker 
men were round pill boxes such as are used in prescription work, 
having black paper on the bottom. For the black men, the bottom 
of the box was turned uppermost ; for the white men, the tops were 
used. Both the cold-tablet boxes and the pill boxes were fastened 
in place by means of pins stuck through the bottom. As for the rest 
of the display, the lettered cartons are some that were formerly used 
to advertise a standard patent medicine, clean cards, cut the right 
size, being glued over any printed matter which would otherwise 
show. The arch was held together by very heavy cardboard folded 
inside the lower flaps of the cartons, and also by the connecting 
pieces on top, which were pinned to the inside flaps of each carton. 
In addition to resting on the three large cartons in the floor of the 
window, the arch was further supported by means of a strong linen 
black thread secured overhead. The arch must of course be con- 
structed first in some convenient place, and then put in position in 
the window. 

There are two or three other things suggested by this display 
which may be worthy of a word or two. Concerning the checker- 
board idea, there are many preparations put up in square boxes 
which druggists can work into designs of this kind. The board 
itself in the present window was simply a heavy card sign. The 



WINDOW DISPLAYS 51 

idea is so novel that observers are led to stop and make a closer 
inspection, and, in doing so, they are sure to be affected by the 
rest of the advertising". Especially is the idea a good one if the 
druggist lives in a vicinity where there are a number of checker 
players. A problem might be set on the board, with "white to move 
and win," or vice versa; and a prize might be offered for the first 
correct solutions. 

As for the lettering used on the cartons, it may be said that 
the author generally uses the Gothic letter for such purposes, as it 
is the most quickly made and also the easiest to read. If one is a 
little skilled with the brush, such lettering is easily performed during 
leisure moments. If not, it is perhaps better to cut letters from 
large posters, paste them on cardboard, and then cut them out. In 
this way one soon has several alphabets, and before long he will 
find that he needs no more. 



21. COUGH CURE NO. 2. 

Designed by J. Eppes Wells, Towanda, Pa. The central feature 
of the window was the wheel. A real wagon wheel was used for 
the purpose and contained 1-t spokes. On every alternate spoke 
was tacked a wedge-shaped strip of Manila paper containing the 
name in print of one of the ingredients of the remedy. The seven 
ingredients were as follows : Wild cherry bark, balm of Gilead 
buds, blood-root, sassafras bark, white pine bark, purified honey, 
and pine tar. The alternate spokes each bore three bottles of the 
remedy fastened on by means of rubber bands. The rim of the 
wheel bore the legend : "There's Xot a Weak Spoke in the 
Wheel.'' Finally, empty cartons, placed on end, were fastened to 
the rim all around by means of a long wire running through all of 
them. The wheel thus rigged up was suspended from the ceiling 
by a wire, but was apparently held in place by means of the spiral 
strips. 

The arrangement of the cartons and bottles on the floor of the 
window is sufficiently clear without description. A price card in 
the rear of the window bore these words : "Only 25 cents. Try it." 
The two larger cards are more or less plainly seen in the engraving. 
Mr. Wells is rather clever with the brush, and the illustrations in 
both cases were designed from cartoons which had appeared in the 
Bulletin. A negress and a sailor are seen on the card at the left, 



52 



WINDOW DISPLAYS 



and they are felicitously presumed to represent honey and tar, 
which the card declares to be 'Two of the Seven Valuable Ingre- 
dients in Our Splendid Cough Syrup." 




21. Cough Cure Window by J. Eppes Wells. 

22. COUGH CURE NO. 3. 

Designed by B. S. Cooban, Chicago, III. Make a light frame 
that will fit snugly into the back of the window, or that will take 
as much space as you care to devote to the display, reaching six or 
eight feet from the floor of the window. Across the window sash, 
about two feet higher than the frame at the back, tack a two-inch 
strip. Take a thin strip and bend it inside the frame so as to 



FOR DRUGGISTS 



53 



make an arched opening in the center. Cover both sides with any 
desired color of cheese-cloth, tacking it on neatly in folds or pleat- 
ing it. Now make a slanting roof of the same material by tacking 
it to the strip across the sash, and to the top of the frame. By 




22. Coug-h Cure Window by B. S. Coofoan. 



using a little taste a very pleasing effect may be obtained in window 
dressing with various colors of cheese-cloth. Outline the arch and 
frame with empty cartons fastened with pins, and make little piles 
of cartons on the floor. In the center of the floor have a large 
percolator resting in a frame, in which pack the ingredients for 



54 



WINDOW DISPLAYS 



your cough remedy. Then arrange a rubber tube to carry the per- 
colator to a pint graduate standing sufficiently high to regulate the 
flow as desired. Get a number of square glass candy trays and 
fill these with the several ingredients used in the manufacture of 
the cough syrup. Have each tray bear a neatly printed card giving 
the name of the drug which it contains. Arrange the trays around 
the front of the percolator on piles of cartons, and also have a few 
piles of rilled bottles without the cartons. Above the percolator 



suspend a sign reading "Cooban's Cough Syrup : Its Ingredients, 
and the Method by which it is Made." The half-tone engraving 
of the window shows clearly the method of arrangement, and the 
accompanying line drawing how the frame and arch may be con- 
structed. 

23. COUGH CURE NO. 4. 

Designed by P. Henry Utech,Meadville,Pa. The window shown 
in the cut is a cough syrup window. The scales were made of an up- 
right standard five inches square at the base, three inches square at 
the top, with the four longitudinal corners beveled off. At the top of 
the standard a notch three inches by one inch was cut out to take 
in the cross-beam; the latter was made of one-inch stuff, three 




t 

i 
l 



66 



WINDOW DISPLAYS 



inches wide at the center, and tapering to one inch at either end. 
The scale pans were made of wood, three-eighths of an inch thick, 
eight inches in diameter, and suspended from the beam by extra 
heavy fishing twine. On one of the pans bronzed pieces of hard 
coal were placed; on the other a bottle of cough syrup. The 
standard was painted black, the cross-beam and pans white, and 
the whole was set on a patent-medicine box draped in black. 

The window floor, sides, and back were draped in plain, dark- 
colored cheese-cloth, making a very neat and attractive setting. 
(The white strip shown in the engraving, behind the scale standard, 
was simply placed there when the photograph was taken in order 
that the standard, being black, would be rendered distinct, as it 
would not be against a dark-colored background.) Placards, ap- 
propriately worded, were placed in the window as follows : "Re- 
lieves all throat irritation — 25 cents;'' "Are your lungs worth 25 
cents?" "White Pine Cough Syrup cures coughs and colds, 25 cents. 
A little money well spent ;" "Good to cure and good to take ;" etc., etc. 



24. DECORATION DAY WINDOW. 

Designed by B. A. Chambean, New York City. Set a box at 
one side of the window, and on it set another box. Cover both 
with cloth or colored paper to harmonize with the rest of the sur- 



i ' 'M 




24. Decoration Day Window. 



FOR DRUGGISTS 57 

roundings. Set your fan in the upper box, which is shaped to focus 
the current of air directly upon the flags. It will be better if the 
fan box be lined with dark material and fronted with a screen ; this 
to hide the fan. Be sure that all crevices at the sides of the fan 
are well covered. At equal distances in front of the fan set two 
rows of flags, of any design wished — Old Glory, flags of various 
countries, flags with advertisements painted on them, according to 
the time and taste. On Decoration Day and the "Fourth," the flags 
should be national, of course. Every Irishman knows what device 
they should bear should the time chance to be around St. Patrick's 
day. On Labor day they could be miniatures of organization ban- 
ners. In college towns, on days of celebration, they could be in 
college banner style, and so forth, ad infinitum. Display goods on 
the floor of the window. Turn on the current sufficiently to keep 
the flags extended enough to make them show up well. 

25. DYSPEPSIA CURE. 

Designed by Boericke & Runyon, Los Angeles, California. 
Boericke & Runyon say that "every one who saw this display 
laughed heartily, and a great many of our patrons brought down 
their children to witness the character of Mr. Smith's tremendous 
appetite." To duplicate the trim take two low boxes, cover them 
with regular tablecloths, and put knives and forks on them as you 
would set ordinary lunch tables. On one table put a cracker on the 
plate and a little water in the glass — nothing else. This represents 
"Mr. Smith's regular daily lunch." On the other table put an assort- 
ment of about forty different sandwiches and a half-dozen mince 
pies. This shows the enormous appetite which Mr. Smith has after 
taking "C. C. C. Tonic !" Bottles of the tonic itself are placed in 
the center of the window between the two tables. 

26. DRUGS. 

Designed by J. T. Pepper, Woodstock, Ontario. The special 
features in this display are the upright boards with the strips tacked 
on them. Each strip is about twenty-two inches long and two or 
three inches wide, and on each is printed the name of some drug 
or preparation. The strips are of light cardboard of different colors, 
and when tacked on the boards certainly make a very striking dis- 
play. Mr. Pepper says they compelled attention and comment from 



WINDOW DISPLAYS 



59 



pedestrians along the street. The photograph shows a display of 
general drugs, arranged in flat glass dishes, on a platform of steps 



MEEIK** 13 ■■■■ sulphur «AiH 

■r naOUC ASIC ■ /•; 1 pure borax VJB 

1 - ^f~f LAUDANUM J| ■ TOOTH POWDER jj 

■ PWUCBORAI saltpetre! 
| ! ■ COD LIVER OIL *, ™ ■.» ,-, Will llll fill I 
S| :., ..J CAIVTPHOR OF t» ese o RU o« EPSOMSALTl 

E • ■■ JTOjfTOB IMIWE SPANISB UC0SC6 ■ 

Mj ■STOf SPIRJTS^ItRI^^^^^ CREAM TARTAR I 
£ ■ PAREGORIC 1 1 SOAP BARK I 





26. Display of Drug"s by J. T. Fepper. 

covered with green cheese-cloth. Each drug has a label or small 
card with the name printed on it. The card in the center reads : 
"Do you need any of these drugs?" 



27. EASTER WINDOW NO. 1. 

Designed by I. D. Hogg, Detroit, Mich. As will be seen more 
or less clearly from the engraving, this window comprised a hen 
with a brood of chicks on the one hand, and a number of live 
rabbits on the other. It was a happy family that could scarcely 
fail to attract and chain the interest. The contented hen clucked 
all day long ; the chicks ran about hither and yon ; and the rabbits 
glided about and curiously poked their noses in the straw in a 
characteristic manner. 

The only article advertised in the window was Fleck's Egg 
Dyes. An assortment of the dyes was shown on a wooden box 



WINDOW DISPLAYS 61 

in the rear center of the window, while more of them were 
exhibited in the lower right-hand corner. A couple of small mor- 
tars were used for the rabbits to eat out of, while the chickens 
were provided with suitable pabulum in a tin dish on the other 
side. The window floor was covered with straw and coarse 
sawdust. 

28. EASTER WINDOW NO. 2. 

Designed by H. M. Curry, Ellsworth, Kansas. The leading fea- 
ture was the background. This showed an old mission church as 
it may be seen in Southern California, and it was painted on muslin 
in water colors in "distemper." The curtain was 6 by 12 feet in size 
and was hung on a curtain pole suspended by wires from the ceiling. 

Probably not many pharmacists or clerks would have the neces- 
sary experience enabling them to paint a background of this kind. 
It would probably be too expensive to have the work done by a 
frescoer; if so, it is suggested that for the background wall-paper be 
used in almost any good forest design, preferably one showing sky 
effects at the top. 

As for the rest of the display, the trellis was of ^ by 1 inch 
pine stock, in 8-inch squares, painted white with alabastine. The 
vines and the lily branches were artificial and such as can be pur- 
chased cheaply by any druggist. The center of the design, between 
the two white bells, can also be easily bought. The bells were of 
course made of tissue-paper and were of the familiar design. 

At the top of the background was hung a narrow strip of tissue 
decorated with violets, and above that another strip of violet-colored 
tissue. At the other end of the window was a column which can 
be made of either round posts or pasteboard tubes, painted white. 
In front of the background, at the rear of the window floor, was a 
shelf one foot high, covered with white paper, and used to display 
perfumes and Easter novelties. The trellis was set about IS inches 
in front of the background and fastened with small wires. The 
bottom of the window was trimmed with green excelsior or artificial 
moss, and perfumes, egg dyes, and other goods were displayed. 

29. EASTER WINDOW NO. 3. 

Designed by C. G. Gibson, Kansas City, Mo. This illustration 
shows one of the most beautiful and artistic Easter windows we have 
ever seen. Not much is necessary by way of explanation. The illus- 




p 



04 WINDOW DISPLAYS 

tration speaks for itself. The display appeared last Easter in the 
store of W. P. Hucke, at Eleventh and Walnut Streets, Kansas 
City. Mo. It was designed by Mr. C. G. Gibson — and Mr. Gibson 
certainly deserves a whole lot of eredit for his cleverness! Mr. 
Ilueke, Mr. Gibson's employer, makes a specialty of handling a 
considerable line of Easter novelties; bis regular candy stock is 
always large and various; and these two kinds of goods were dis- 
played in profusion about the window. There were all kinds of eggs, 
rabbits, ducks, chicks, birds, and a variety of other things. The doll 
seen in the left center of the window was encased in a large plaster- 
of-Paris egg, and was made to appear as though the egg had just 
been hatched. The design of an egg in the upper center of the 
window bore the legend: "Hosier Greeting." Eggs were hung 
suspended from the diamond-shaped squares of the design, as will 
be seen from the illustration. Flowers, ferns, and the like, some 
of which were doubtless artificial, were scattered about the floor of 
the window and fastened to the framework at various points. The 
framework itself, it will be seen, was covered with puffed cloth of 
some kind. The window was certainly an uncommonly beautiful 
one. and Mr. llucke assures us that it ''sold the goods!" This is 
what window displays are expected to do. 

30. EASTER WINDOW NO. 4. 

Designed by II. M. Curry, Ellsworth, Kansas. The background 
consists of a wooden frame covered with wall-paper at the top and 
hung with pleated white cheese-cloth below. The "Easter Greeting" 
design is a scroll cut out of white cardboard and mounted on a 
sheet of purple crepe tissue. The lettering is done in purple and 
gold. Around the edge of the purple tissue is a strip of white 
crepe paper held in place with mucilage and gold passe-partout 
braid. The cross seen in the center of the display is of gilded 
cardboard. 

The shelves on either side of the window are covered with 
lavender tissue. Over the long shelf in the center is spread white 
•crepe tissue decorated with violets. Across the top of the window 
runs a string of green moss grass. Artificial lilies are used to 
heighten the effect. 

Perfumes in purple and gold packages are featured. The floor 
of the window is white. There are two placards advertising a 
popular perfume. 




Pi 

01 

s 



WINDOW DISPLAYS 



67 



31. EASTER PERFUME WINDOW. 

Designed by B. S. Cooban & Co., Chicago, III. The settings 
are beautiful in this display. Nothing is overdone. Only a few 
bulk odors are on exhibit. Four pots of Easter lilies serve to 
bring out the idea of fragrance. The pots are covered with deli- 
cate crepe paper which harmonizes with the covering on the floor. 
Altogether the white carpet and the flowers lend a charming effect 
to the window. A pair of rabbits, leaping as it were over the 
ledges of the floor, enliven the display. Signs are used in pro- 
fusion. The one in the center bears the message : ''Special Eaater 
Lily Perfume, 25 cents." Starting from the extreme left, the 
smaller placards read : ''The Kind that Friends Will Ask About.'' 
"Delicate." "Exquisite." "Refined." "Lasting." "If it is Perfume, 
Come in and Have It." "Easter Lily Perfume, 50 cents." 

32. EFFERVESCENT SALTS. 

Designed by F. H. de la Rue, Guernsey, England. This design 
was based upon one which appeared in the Bulletix of Pharmacy 




32. Display of Effervescent Salts by F. H. de la Bue. 



some years ago. The main feature, as may be sufficiently seen from 
the engraving, was a suspension bridge. The article exhibited was 
effervescent salts, and the bridge was made of the salts suitably 



WINDOW DISPLAYS 69 

arranged. Printed placards in the rear of the window made the 
display clear, while the bridge idea was carried out by two or three 
toy sailboats which were so arranged as to seem to be gliding 
along in the water underneath. 

33. EUTHYMOL TOOTH PASTE NO. 1. 

Designed by MacLean Drug Co., Chicago, III. This artistic dis- 
play of Euthymol Tooth Paste was seen not long ago in the window 
of the MacLean Drug Co., 1888 Evanston Ave., Chicago. The busi- 
ness was conducted by the Central Drug Co. until some months 
ago, when Mr. MacLean became sole owner. The window was 
ornamented with strips of white and green crepe paper, the letters 
being of gold. Several dozen of Euthymol Tooth Paste, together 
with a number of dummy packages, made a very neat display. 
Interspersed among the packages of paste were placards mentioning 
the product. 

34. EUTHYMOL TOOTH PASTE NO. 2. 

Designed by Hegeman & Co., New York City. This shows a 
display made some time ago in the window of one of the stores 
owned by Hegeman & Co., the well-known corporation of New 
York druggists. The display does not need very much in the way 
of textual description. It is self-explanatory. The packages of 
Euthymol tooth paste were arranged in pyramidal form, and on 
either side were placed the "cut-outs" which are furnished by the 
manufacturers. 

35. EUTHYMOL TOOTH PASTE NO. 3. 

Designed by Byard & Voit, Warren, Ohio. The words "The 
Best Tooth Paste," seen in the rear of the window, were constructed 
of cartons of the paste, and were fastened to black velvet stretched 
over a frame. Then, so far as the display proper was concerned, 
separate cartons of the paste were placed on little squares of white 
paper. The alternate squares were composed of similar pieces of 
purple paper ; on each of these was placed a small sample of the 
product. The contrast in color between the purple and the white 
of the background, and the purple and white squares also of the 
window floor, was very striking and could be seen at a considerable 



tfMAIV , 



INCORPORATED. 



druggists: 

BRANCH OF 196 BROADWAY. 



I > 






PSsSirl 

m 







W?w 






34. Display of Euthymol Tooth Paste by Hegfeman & Co. 



72 WINDOW DISPLAYS 

distance. This effect, however, is of course wholly lost in the 
engraving, although it formed one of the chief features of the dis- 
play. In one corner of the window at the rear a box was placed 
which covered about one-third of the window floor, and which was 
eight inches in height. This was covered again with the purple and 
white squares, and on them were the cartons and the sample tubes. 
The sign seen at the right of the window bore these words : 
"Makes Your Teeth Look Like New Money." Finally, the purple 
and white strips of paper, puffed along the sash on the inside of 
the window, was a feature which made a still further contrast in 
color between the purple and the white. 

36. FERRIS WHEEL. 

Designed by //'. C. Stedtfeld, Indianapolis, J mi. This design is 
illustrated in the accompanying drawing. It constituted a large 
Ferris wheel which came practically to the top of the window, being 
about six feet high. It was provided with six cars. The article 
displayed was Mr. Stedtfeld's "White Pine and Tar Expectorant." 
On each car he had a bottle of the product, together with a doll. 
The wheel itself was trimmed with baby ribbon and crepe paper. 



36. Ferris Wheel Window by W. C. Stedtfeld. 

Large signs were hung at the top and sides of the window ; these 
were made by cutting the letters out of black paper and then past- 
ing the paper, not the letters, on white tissue-paper for the back, 
thus making transparent white letters on a black ground. In the 



FOR DRUGGISTS 



73 



bottom of the window he had a display of bottles of the product, 
together with the several drugs used in its manufacture. 

Now, of course, Mr. Stedtfeld kept the Ferris wheel revolving. 
Otherwise it would be a very tame affair. The motive power used 
for the purpose was simply an electric fan geared down with a 
series of wheels so that the Ferris wheel made about two revolu- 
tions a minute. 

37. FLAVORING EXTRACTS NO. 1. 

Designed by Joseph F. Hostelley, Collingdale, Pa. This exhibit 
is a modest offering of flavoring extracts — vanilla, lemon, orange, 




37. Display of Flavoring" Extracts by Joseph T. Hostelley (No. 3). 



pineapple, ginger, almond, strawberry, etc. The bottles all wear 
colored, ready-made caps. The form on which they stand is a 
stock window fixture ; the edges of the steps are festively hidden 



WINDOW DISPLAYS 75 

beneath strips of white cheese-cloth gathered into tiny puffs. The 
draped curtains are of white cheese-cloth. Potted plants in fancy 
jardinieres offer a very acceptable and artistic apology for a meager 
stock. Artificial carnations and a honeysuckle vine of the same 
origin lend a pleasing effect to the pyramid of varicolored solutions, 
over which they are laid. Dimensions of exhibit space, 2x5 feet. 



38. FLAVORING EXTRACTS NO. 2. 

Designed by Horace C, Buxton, Fort Fairfield, Maine. The 
finished bottles of the essences are sufficiently shown in the photo- 
graph, but other features of the trim need some little explana- 
tion. Such things were exhibited as whole lemons, oil of lemon, 
vanilla beans, peppermint plants, oil of peppermint, and oil of win- 
tergreen — the aim being to show what native substances were used 
in the manufacture of the essences. A card at the right bore the 
following legend : "These Flavorings are Made from the Best 
Material We Can Buy. Try them — Money Back if they are not as 
Good as those You Have Been Using." In the left of the window 
was a smiling moon, and under it the statement : "Our Flavorings 
Make You Smile." 



39. HAIR TONIC NO. 1. 

Designed by B. S. Cooban, Chicago, III. A house-like struc- 
ture with a shed roof was built; this was made of cheap half-inch 
boards forming frames which, when put together and covered with 
muslin, gave quite a solid appearance. We called in the services 
of a paper-hanger, who fixed up quite a pretty little room. The 
ceiling was paneled; and the side walls were light blue with wide 
frieze, and trimmed with a gold molding. 

In the center of the window was placed a good-sized box, and 
on either side a smaller box. The boxes and floor were covered 
with blue and white cheese-cloth. A circle was made which was 32 
inches inside diameter; this was made of boards one inch thick, 
six inches wide. To the circle five shelves were fastened, and the 
whole was then covered with light-blue cheese-cloth and the edges 
trimmed with white, puffed so as to relieve the flat, stiff appearance. 



76 WINDOW DISPLAYS 

This circle was fastened to the large central box, three bottles of 
hair tonic were placed on each shelf, and little piles of bottles were 
put on smaller boxes on the sides. 

A bust wax-figure was loaned by a near-by hair-dresser, who 
kindly dressed the '"lady" in white and light blue, and fixed up the 
head with an indescribable creation in auburn hair. This figure 
was placed in the center of the circle so as to give a side view of 




39. Hair Tonic Window by B. S. Coofoan. 



the face and display the hair. Nearly every woman who passed 
stopped to see how that hair was fixed and incidentally to read our 
signs. In front of the two small boxes and on the wall we used 
signs, clearly shown in the illustration. This made a very good 
window, and attracted a great deal of attention. 



FOR DRUGGISTS 77 

40. HAIR TONIC NO. 2. 

Designed by P. Henry Utech, Meadville, Pa. This display was 
made by arranging a series of three horizontal platforms, each about 
12 inches wide and 6 inches high, in such a manner that the under 
ones protruded just enough to make the shelves of the proper 
width. On the top of the uppermost shelf, near either end, was 
placed a small wooden box about 10 inches square. To relieve the 
flatness, large sized, empty powder boxes were placed at irregular 
intervals on the shelves and the whole arrangement draped with 
pink-colored cheese-cloth. Appropriate signs, and a generous quan- 
tity of the tonic properly arranged, completed the decoration. The 
shelves were all built from packing boxes ; the cheese-cloth used 
cost but 30 cents, and the very first week of the display we sold 19 
bottles of the tonic. Some of the placards read as follows : "Sage 
Hair Tonic finds the roots — there's where the trouble usually 
begins." "No dye nor chemical in Sage Tonic. Can do nothing but 
good. 50c.'' "A fool and his hair are soon parted unless he uses 
Sage Hair Tonic." "Sage Tonic begins where others leave off." 



41. HAIR TONIC NO. 3. 

Designed by Charles A. Miller, Boston, Mass. The floor of 
the window was first covered with green crepe paper, and dark-red 
paper of the same kind was hung at the back. The centerpiece 
was composed as follows : One wooden box was placed on top of 
another somewhat smaller in size, and the whole was covered with 
white crepe paper. Around these boxes were attached dozen-boxes 
of the shampoo powder in such a way as to form a pyramid; and 
the whole was surmounted, as may be seen by the illustration, by a 
picture hanging suspended in position by a black thread which ran 
to the chandelier above. The inscriptions on this picture were made 
by sticking pieces of white paper to the edges, and then lettering 
these in the manner shown above. 

The two large eggs were made as follows : They were first cut 
out of very heavy cardboard, and strips of the cardboard were 
glued on the backs to prevent warping. They were then painted 
white by the use of zinc oxide and liquid white shellac, thinned 
with alcohol to the proper consistency. Only a little skill is re- 
quired to shade the tgg into a very natural appearance by the addi- 



WINDOW DISPLAYS 79 

tion of a dark-colored paint. If one desires to have "brown" eggs, 
it is simply necessary to tint the white paint with a little sub- 
carbonate of iron. Shellac varnish, as it is called, is the best vehicle 
for painting signs in stores, but white shellac should be employed 
when light colors are used. For a black color, "ivory black'' is 
best. 




41. Hair Tonic Display by Charles A. Miller. 

The "grass*' upon which the eggs rest in the accompanying 
display is composed of excelsior which has been dipped in green 
Diamond Dye and allowed to dry. As a whole, the display makes 
an effective picture, and tells a story which is read at a glance. An 
impression is conveyed which sells the goods. 



42. HOT-WATER BOTTLES NO. 1. 

Designed by P. Henry Utech, Meadville, Pa. The device is an 
original one, very simple, and can be gotten up at a small cost. Mr. 
Utech kept this particular display in the window for about ten days. 
During that time many bottles were sold and many passers-by came 
in to inquire as to the merits, uses, and quality of the various styles 
of bottles, all of which resulted in additional sales later on. Indeed, 
6 



80 



WINDOW DISPLAYS 



the educational merits of a display are often as valuable as those 
features of it which bring immediate sales. 

The display was made as follows : Four wooden sticks, an 
inch square by about G feet long, were first taken, and to these 
were nailed, at right angles, as many other sticks about 4 feet 
long. This formed the framework seen in the display. The upper 
and lower series of squares were about 10 by 15 inches and were 
made to hold the two-quart bottles. The center squares were made 
a trifle longer, about 10 by 17 inches, and these contained the three- 
quart bottles. It can be seen how the center was cut out for the 




42. Display of Hot-water Bottles by P. Henry Utech. 



placard, which read as follows: "Hot W T ater Bottles— Guaranteed 
Leak Proof— All Sizes— All Prices— Much Comfort for Little 
Money." 

The frame was covered with pink cheese-cloth, so fastened on 
with basting thread as to appear fluffy. The general effect, not well 
shown by the photograph, was very unique and artistic, and at the 
same time the expense was slight. Two or three other placards 
were placed in the window, but are not shown in the photograph. 



FOR DRUGGISTS 81 

43. HOT-WATER BOTTLES NO. 2. 

Designed by A. C. Walker, Sewickley, Pa. The circle in the 
window was 9 feet in diameter and had 75 squares for as many 
bottles. The framework was made of strips of wood covered with 




43. Display of Hot-water Bottles by A. C. Walker. 

tissue-paper. Mr. Walker tells us that the display was in the win- 
dow for two weeks, and that he averaged from one to three sales 
of hot-water bottles a day. 



44. HOUSECLEANING PRODUCTS. 

Designed by J. Austin Bayes, Fenny Stratford, England. This 
shows a window devoted to an exhibition of spring housecleaning 
aids. The effort is made to contrast the articles used now for such 
purposes with those formerly employed. On one side of the win- 
dow 'The Old Way" of doing things is exhibited; on the other 
"The Xew Way*' is set forth. The signs on the guide-post in the 
center are to be seen in the engraving, and one may also read the 
legend across the top : "The Old Order Changeth, Giving Place to 
the New." Among the old-fashioned articles exhibited at the left 
side of the window are fullers' earth, beeswax, turpentine, and other 



WINDOW DISPLAYS 83 

"foul-smelling things valued in the last century and in the one 
before it." On the right side is shown such excellent and modern 
products as Mr. Bayes himself gets up out of the kindness of his 
heart for the convenience and economy of his patrons ! Among these 
are his own brand of cloudy ammonia, a furniture polish, a glove 
cleaner, and a preparation for making carpets and rugs look con- 
siderably better than they did when they were new. In order to 
give a realistic look to the window a couple of birds are perched 
on the sign-post in the center, while other representations of spring 
are made on the floor of the window. 

At the base of the sign-post are shown two figures — the tradi- 
tional man and the maid. They are meeting at the parting of the 
ways, and their dialogue is as follows : 

"Where are you going, my Pretty Maid?" 
"I'm going spring cleaning, sir," she said. 

"May I go with you, my Pretty Maid?" 
"Yes, if it please you, sir!" she said. 

"And where is your first call, Pretty Maid?" 
"At Horton and Bayes's, sir," she said. 

"And which way take you, fair maid?" said he. 
"I shall take the new way, sir," said she. 

"But I'm going this way, don't you see?" 
"And that won't suit me, sir," said she. 

"Then I like the old ways the best, Fair Maid !" 
"And I have no love for them, sir," she said. 

"Well, I can't marry you now, Fair Maid !" 
"Nobody asked you, sir," she said. 

45. KRESO. 

Designed by C. G. Burroughs, Kansas City, Mo. This display 
was arranged by Mr. Burroughs for C. E. Abraham, of Kansas 
City, Kan. It forcibly illustrates the fact that the druggist may 
readily advertise the really pharmaceutical portion of his business, 
and not be limited, as so many pharmacists are, to side-lines and 
toilet articles. As disinfectant and germicidal solutions are now 
very generally used by the public, particularly at certain times of 
the year, an excellent opportunity is afforded the wide-awake drug- 




45. Kreso Window by C. G. Burroughs. 



WINDOW DISPLAYS 85 

gist to appeal to this class of trade by means of his window. In 
the accompanying trim "Kreso," the new coal-tar disinfectant and 
germicide, is the subject of display; and the white card in the 
center bears the following legend : 

Was ever man with sense so dead 
Who ever to himself hath said 
There is no good in Kreso ! 

It appears evident from the illustration that Mr. Abraham's 
window is admirably adapted to display purposes. That the most 
has been made of it need scarcely be said. 

46. KRESO DIP. 

Designed by I. Earl Taylor, Gridley, III. This trim was used 
in opening a campaign on Kreso Dip No. 1. The background was 
one of the most elaborate ever seen in Mr. Taylor's window. Every- 
thing in the display was significant of purity. The rich puffing 
shown was made of pure white tissue-paper enhanced by bouquets 
of flowers. These were held together by ribbons cut out of maga- 
zine covers. The drapery at the top consisted of pure white cheese- 
cloth draped and puffed as shown. The reading on the price card 
is legible in the accompanying illustration. Another card read, 
"One gallon makes 75 gallons." The base of the trim was covered 
with a puff of white cloth. 

The Kreso Dip itself was arranged about the floor of the 
window, and booklets on the product were opened and placed on 
exhibition. 

47. LABORATORY WINDOW NO. 1. 

Designed by D. Charles O'Connor, Fitchburg, Mass. Druggists 
too often suppose that a live window display cannot be made out 
of strictly pharmaceutical material. This impression is a false one. 
Chemicals and appliances which appear commonplace to the phar- 
macist are a source of novelty and interest to the public. To the 
layman the operations in a chemical laboratory are things unknown. 

The window of Mr. O'Connor, as shown in the accompanying 
cut, serves to indicate the possibilities of a laboratory window. 
Throughout the display are evident many features calculated to- 
impress the public with the professional intelligence necessary to- 
compound prescriptions. A large United States Dispensatory, and! 




8» 



WINDOW DISPLAYS 89 

a scale which will weigh accurately 15/100 of a grain, enjoy a con- 
spicuous position. The shelf on the right contains an array of 
graduates, a large percolator, and a gallon and a live-gallon bottle, 
together with an assortment of chemicals and pharmaceuticals. On 
the floor may be seen the sign : "Prescription Utensils." Close by 
is a card reading : "How Pills are Made." 

This interesting section of the window shows the pill tile, pill 
roller and divider, together with pill mass and finished product, 
demonstrating clearly the process of making these pharmaceuticals — 
a thing entirely unknown to the general public. Other articles on 
the floor comprise an assortment of sterilized culture tubes, ointment 
jars, a suppository mold, a konseal machine, round-bottom flasks 
stoppered with tufts of cotton, glass funnels, a mortar and pestle, 
porcelain evaporating dishes, a tripod and a Bunsen burner. These 
several articles are all labeled so that the public may know them. 

In the front of the window is a sign reading: "One Registered 
Pharmacist of 19 Years' Experience : One Registered Pharmacist 
of 17 Years' Experience." The wooden case in the window was 
made to order to represent the shelf-bottle section of the store. 
The shelves at the back of the window contain an assortment of 
tincture bottles and stock containers for chemicals. 

48. LABORATORY WINDOW NO. 2. 

Designed by H. E. Whiteman, Webster City, Iowa. This win- 
dow represented a strictly pharmaceutical or prescription exhibit, 
and was dressed with graduates, funnels, beakers, flasks, mortars, 
percolators, evaporating dishes, stirring rods ; apothecary, Troy, 
avoirdupois, and metric weights ; old prescription files, and other 
scientific apparatus used in a first-class pharmacy. 

The unique feature of the display was the eleven chemical flasks 
on the top shelf. These were half filled with liquids of different 
brilliant colors, which were kept in motion ; in fact, they looked as 
though the real process of distillation was going on. At the right 
of the shelf a retort stand was used to hold a large tabulated glass 
retort partly filled with a dark-brown liquid, and a small spirit 
lamp under the retort so far below that there was no heat on the 
retort. The opening of the retort was closed with a rubber stopper 
through which was passed a small glass thistle tube, the end of 
which extended nearly to the bottom of the retort. The beak of 
the retort was plugged with a rubber stopper having a glass tube 



frfili LlliftiiininY \rm I'M 




ill 

Ik « 3 





WINDOW DISPLAYS 91 

passing through it. By means of glass and rubber tubing, as shown 
in the engraving, the retort and the eleven chemical flasks were con- 
nected together; each flask had two tubes passing through the cork, 
one nearly to the bottom and the other about an inch through the 
cork, and the tops were made absolutely tight by using plaster of 
Paris and water as a paste. 

Of the last four flasks to the left, hydrochloric acid was used 
in the fourth, concentrated ammonia in the third, the second was 
left empty so that the fumes of the hydrochloric acid and concen- 
trated ammonia could fill it with smoke or gas, while with the flask 
at the end there was a peculiar arrangement. A tube went to the 
bottom and back up to the top ; the bend of the tube in the bottom 
of the flask was covered with white sand, and the flask then filled 
about half full of clear water. This naturally gave the appearance 
to an observer of a filter, suggesting that the colored liquids were 
transformed to gas and then back to liquid from the last flask. A 
rubber tube was connected down cellar into a barrel of water, mak- 
ing all the connections tight, and when the faucet in the barrel 
was opened, air was drawn through the thistle tube in the retort 
and through all the flasks down into the barrel in the cellar. This 
arrangement furnished a steady stream of bubbles and gas from 
five to seven hours, according to the opening of the faucet, and then 
the barrel was filled again. 

This display was used two weeks, and all the time there was 
a constant, ever-changing crowd in front of the store. There is no 
doubt that it will prove a good drawing card, for any one who will 
try it. The display was made in the window of Geo. W. Teed, the 
pioneer druggist of Webster City, Iowa. 

The phenomenon taking place in the flasks at the top kept the 
people interested, and then labels on the various articles in the win- 
dow educated them as to the utensils used by the pharmacist in the 
conduct of his scientific and professional work. One card in the 
center read : "Some of the Articles Used in Compounding, Prepar- 
ing, and Analyzing Medicines and Prescriptions." 

49. LICORICE. 

Designed by J. T. Pepper, Wocdstock, Ontario. Mr, Pepper 
buys his licorice in 125-pound lots. He gets a special price on it, 
pushes it vigorously during the season, and in this way makes a 
nice thing on it. 



92 



WINDOW DISPLAYS 



The present display was made to depict a winter scene. Epsom 
salt was sprinkled on the floor of the window to represent snow, 
and over this snow the elephant was hauling the sled of licorice. 
On the back of the elephant rode an East Indian native, with prod- 
ding stick in hand. The card hanging suspended in the center of 
the window contained the following text: 

Is it licorice? 

Yes, it is licorice ! 

Is it pure? 

Yes, it is absolutely pure ! 

The card fastened to the elephant bore this statement: "Good 
for Coughs." Behind the sled was a card simply giving prices, as 
follows : 

One-ounce sticks, 5 cents. 

Two-ounce sticks, 10 cents. 

Four-ounce sticks, 15 cents. 

It only remains to be said in conclusion that this display has the 
merit of simplicity, and that it can be prepared without any trouble 
or extra work. 

50. LINIMENT. 

Designed by "An Appreciative Reader." This is supposed to 
represent a barn built of packages of the liniment, and surrounded 
with a small barbed wire fence. The back row of packages is in- 
tended to represent a rear fence. 




50. Display of Liniment by "An Appreciative Reader." 



FOR DRUGGISTS 93 

51. LOOFAHS. 

Designed by J. T. Pepper, Woodstock, Ontario. There is noth- 
ing particularly striking about this window display shown in the 
accompanying illustration. It is presented chiefly because it brings 
forward one of the staples of the drug store which druggists do not 
often think to advertise, and for which a considerable sale might 
easily be developed. Indeed, so little is known about loofahs by 
the public that curiosity is aroused when the articles are exhibited. 

Mr. Pepper says that while ''this display does not claim to be 
an artistic one it sold loofahs and proved itself a good business- 
bringer. We have always sold a few of these articles throughout 
our entire period in business, but we sold more during the week of 
the display than during all our previous history. The trim alsc 
provoked a great many inquiries from people who had never seen 
loofahs and did not know what they were used for or what was 
their origin." 

The illustration largely explains itself. There were three sizes 
of loofahs exhibited, selling respectively at 10 cents, 15 cents, and 20 
cents. The large card over the top read : "Loofahs or Vegetable 
Sponges for the Bath. They Wear forever." A card at the left 
bore the legend : "They Grow Like Cucumbers." 



52. MAGAZINES NO. 1. 

Designed by J. Earl Taylor, Gridley, III. This display of the 
Ladies' Home Journal departed from the usual magazine trim. 
Across the back of the window extended muslin tacked to a frame. 
On either side were pillars which had been constructed with brush 
and black paint. Very nobby, indeed ! 

At the top of the muslin were pasted figures cut from the 
magazine covers, each one being surrounded by an arch. The fence 
was made of soft pine painted white. 

The sides of the trim were formed by pasting together front 
covers of the Ladies' Home Journal as shown in the picture, while 
the corrugated floor effect was produced by rolling the journals into 
cylinders, slipping rubber bands around each of them, and arranging 
them side by side. 

The figures of the man, wife, and child were cut-outs. For 
years Mr. Taylor has made it a rule to save good posters for just 



96 WINDOW DISPLAYS 

such purposes. This particular cut-out had been sent to him some 
time before by a patent-medicine house on the strength of a 
quantity order. Properly handled, such figures may be used several 
times a year, and they always lend a certain human interest to a 
trim. 

53. MAGAZINES NO. 2. 

Designed by J. Earl Taylor, Gridley, III. Mr. Taylor writes as 
follows : "I have recently started a news-stand department. The 
population of our town is only about 900, but it consists, to the 
extent of perhaps 65 per cent, of Germans who are successful and 
up-to-date citizens. I began using one of my two windows for the 
display of magazines weekly. How has it paid? I will answer in 



53. Magazine Window No. 2 by J. Earl Taylor. 

this way: I am now writing on the 25th of the month, twenty-five 
days after I began handling magazines. During that time I have 
found it necessary to order four times ! 

"I believe that magazines are a profitable side-line for any drug- 
gist. The direct profits are not so large from the sale of the goods 
themselves, but it is a class of trade which brings the people to 
your store — and after that a neat, attractive pharmacy, together with 
lots of courtesy, will do the rest !" 



FOR DRUGGISTS 97 

54. MASSAGE CREAM. 

Designed by Joseph Simnacher, Franklinville, X. Y. A window 
theater is the object depicted: in the first engraving the curtain is 
down, and in the other it is rolled up so that the stage may be 
seen. Pompeian Massage Cream is the article exploited in this 
particular instance, but the "theater" was constructed by Mr. Sim- 
nacher with a view to using it at occasional intervals for the display 
of any article that might be desired. 

Before entering into a description of the "theater," we may say 




54. Massage Cream Window "by Joseph Simnacher. 



that Mr. Simnacher very kindly offers to give full and ample in- 
structions to any one who may desire to get up such a window. 
Druggists with a mechanical and artistic turn of mind would prob- 
ably delight in making something of the kind. 

The theater was 7 feet wide, 5 feet high, and 4 feet deep. The 
pillars were made of covered cardboard surrounded with trailing 
vines. The drop curtain was painted in water colors, as were also 
the wings of the theater and the background. There were three 



98 WINDOW DISPLAYS 

double sets of the wings, and the coloring was very attractive — 
unfortunately it does not show in the engraving. Much of the 
beauty of the window, indeed, rested in the variety of its coloring, 
and without this the illustration appears comparatively common- 
place. 

The figures seen on the stage were 10 inches high and were 
kept moving by a mechanical device. There were two rows of 
them, and each was attached to an endless belt, the two belts mov- 




54. Massage Cream Window by Joseph Simnacher. 



ing in opposite directions. Mr. Simnacher used a little hot-air 
engine to supply the motive power, and this involved an expense of 
not more than five cents a day for gasoline. 

When not in use the whole thing can be taken apart and stored 
away until such time arrives as the druggist may desire to utilize 
it again for the display of some other product. Outside the store, 
on the sidewalk, Mr. Simnacher had a bulletin board bearing this 
announcement: "Pompeian Matinee from 3 to 5 p.m. Admission 
Free." 



FOR DRUGGISTS 99 

55. OLIVE OIL. 

Designed by B. S. Cooban & Co., Chicago, III. This window 
is pure white throughout. Olive branches bearing the fruit relieve 
what would otherwise be a conventional array of bottles. The 
wrapped packages are neat. While the olive branches serve to 
impress upon the observer the genuine origin of the oil, the fact 
is driven home by a large sign in the center, which reads : "Olives. 
Los Angeles Olive Growers' Association. They make the c Sylmar J 
Oil." The placards are a white bristol board printed with lilac ink, 
giving a very light effect to the whole window. Starting from the 
left, they read: "For the Complexion;" "For Liver Spots;" "For 
Constipation;'' "Torpid Liver;"' "For Jaundice." This display was 
only a part of a general advertising campaign made by Mr. Cooban 
on olive oil. It was supplemented by newspaper announcements 
and other forms of publicity. Altogether ~Mv. Cooban has worked 
up a nice sale on the oil. 



56. PERFUME WINDOW NO. 1. 

Designed by H. M. Curry, Ellsworth, Kansas. The color 
scheme of the present window was white, violet, and gold, and it 
made a strikingly beautiful combination. The large oval mirror in 
the center had a gold Florentine frame, through which were woven 
bunches of violets for the occasion. The golden lions, rampant on 
either side, were carefully made from cardboard and afterwards 
gilded. Altogether this made quite a striking centerpiece. 

Then immediately behind this was the background of white 
cheese-cloth, while elsewhere throughout the window crepe paper, 
decorated with violets, was used quite profusely. It was not only 
employed under the rail in the rear of the window, but around the 
two shelves in the center also. The stands and floor were covered 
with two shades of violet crepe paper. The goods were arranged 
as on a dressing table. in front of the mirror. They comprised per- 
fumes and toilet waters of various kinds. 

The show cards used in the windows were all furnished by the 
manufacturers with the exception of the one at the top, which 
was made in facsimile of the label used on some of the goods, but 
of course in larger dimensions. 



102 WINDOW DISPLAYS 

57. PERFUME WINDOW NO. 2. 

Designed by K. Hermann Fritts, Manhattan, Kansas. Unfor- 
tunately the cut does not do justice to this display, nor adequately 
render a conception of its beauty and color harmony. A box three 
feet high was placed in the center of the window and covered with 
old gold and black tissue-papers. A large triplicate mirror was 




57. Perfume Window "by K. Hermann Pritts. 

then put on the box, and the two wings placed at such angles as 
to give the best reflections. Across the top of the mirror was 
stretched a sheet of black tissue-paper, with an electric bulb dropped 
through the paper to the center of the mirror. Inch strips of paper 
were arranged in the manner shown by the engraving; they were 
tacked to the window-sills an inch apart, with the exception that at 



FOR DRUGGISTS 



103 



the top the support was not the window-sill, but a thin strip of 
board fastened across the window-glass about six feet from the 
bottom of the window. The strips of paper were of the two colors 
previously mentioned, old gold and black. Two strips, one of each 
color, were twisted together ; and they were tacked to the edges 
of the mirror and the box as seen in the engraving. The printed 
card may easily be read, and it explains itself. Finally, half-pound 
bottles of perfumery were placed in the recess formed by the mirror 
and on top of the concealed box. 

58. PERFUME WINDOW NO. 3. 

Designed by William S. Oppenheimer, Tampa, Florida. A good 
idea of the attractiveness of this window can be gotten from the 
engraving, but it is necessary to explain that much of its beauty 




58. Perfume Window Designed "by William S. Oppenheimer. 

resided in the blending of colors, and this is of course not apparent. 
The center was a pile of gray and blue granite chips picked up 
around a building newly constructed. Inside this pile were some 
round boxes or cans in order that the pile might not be entirely 



WINDOW DISPLAYS 105 

constructed of the granite and thus be too heavy. The bottom of 
the window was covered with green crepe paper, and this green 
was happily set off with violet elsewhere. In fact, the window was 
an advertisement of violet perfumes, and the color of violet, and 
the word violet, were dwelt upon insistently. Bottles of violet per- 
fume were placed all about the rocks, and violets and green smilax 
(all artificial) were scattered among them. One or two violets 
were also attached to each individual bottle, and on top of the rocks 
was a large bunch of them. The sign which can be seen plainly in 
the illustration had also a bunch of violets run through a slit in 
the corner of it. The gaslights were shaded with green crepe 
paper, and there were also attached to them bunches of violets. This 
combination of green and violet colors was very happy, and the dis- 
play as a whole was so attractive that it sold the perfume in grati- 
fying quantities. 



59. PHARMACEUTICAL WINDOW. 

Designed by H. M. Curry, Ellsworth, Kansas. The object of 
the display was to show a fine line of chemicals and pharmaceuti- 
cals, attractively presented in neat containers or in original packages, 
as the case might be, and distinctly labeled in each instance so that 
the observer might know what he was looking at. The arch was 
5 feet high and measured 10 feet at the base. It was made of 
heavy packing paper, tacked to a frame of wood strips, and painted 
white with alabastine, being finely lined off to represent masonry. 
The card fastened at the apex of the arch was made by Mr. Curry 
himself : white mat board, 20 by 30 inches in size, was used, and 
the letters were so large that the sign could be read almost across 
the street. The legend was : "These Goods, from the Laboratories 
of Merck & Co. and Parke, Davis & Co., Represent the Quality of 
the Drugs used in our Prescription Department. There are None 
Better." 

The two main shelves were half circles of wood set up on cigar 
boxes, while the high shelf in the back was a large packing box, 
all of which was covered over with white crepe paper. Under the 
small bell jars placed on the standards beside each base of the arch 
were, respectively, one ounce of morphine and one ounce of quinine 
■ — of course plainly labeled. The jug and the two large demijohns 
seen on the topmost shelf in the rear contained elixir of lactated 



106 WINDOW DISPLAYS 

pepsin; elixir of pepsin, bismuth and iron; and hematic hypophos- 
phites. There were also three large demijohns on each side of the 
window which do not show in the picture. 

The display was supplemented with special notices and adver- 
tisements in the newspapers, and we have Mr. Curry's word for it 
that the week's campaign "did lots of good." 



60. PHOTOGRAPHIC SUPPLIES. 

Designed by IV. H. Watson, Henderson, Ky. This design was 
to show a miniature photograph gallery. The brick effect was 
secured by a painted canvas. Through an open section of the brick 
wall is shown the photograph gallery itself. Wall-paper constitutes 
the background, and on this are hung the pictures which are so 
liberally furnished by the various camera manufacturers. The figures 
in the display were cut from patent medicine advertisements, and 
will doubtless be recognized by druggists everywhere. The idea 
is rather ingenious, and Mr. Watson assures us that the window 
proved very attractive. 

61. PLAYING CARDS. 

Designed by C. T. Flaclieueker, Alton, III. This somewhat 
bewildering, but yet interest-compelling, design attracted a great 
deal of attention during the three weeks in which it was kept in 
the window, and greatly increased the sale of playing cards in the 
store. In the main, the design speaks for itself, but in some par- 
ticulars it fails to show the details of construction. For instance, 
in the center of the window a heart-shaped arrangement of cards is 
apparent; the photograph does not make clear, however, that these 
cards were pasted on the margin of a large "cut-out" made of 
pasteboard and covered with red bunting. A diamond-shaped "cut- 
out" hangs suspended in the center of this heart, and on it are 
likewise pasted playing cards, together with the word "Bicycle" in 
the center. On either side of the diamond "cut-out" signs were 
pasted on to the large heart. The heart was five feet high and the 
diamond three feet. 

Two other "cut-outs," similarly decorated, appear in the win- 
dow — one on either side of the heart in the center. The "cut-out" 
on the. right of the heart was a spade, while that at the left was a 



FOR DRUGGISTS 107 

club. These were 3^2 feet high and were covered with black bunt- 
ing. Playing cards and signs were pasted on them in the manner 
indicated by the engraving. 

For a background an arch made of lath, and covered with white 
bunting, had black bunting suspended from it, on which were fast- 
ened various signs and festoons of cards. Packages of cards were 
laid and piled on the window floor. 




60. Display of Photographic Supplies by W. H. Watson. 



WINDOW DISPLAYS 109 

62. POSTAL CARDS, SOUVENIR, NO. 1. 

Designed by Fred F. Wilson, Toronto, Ontario. A very attrac- 
tive window trim can often be arranged on a wooden frame. Here 
is one well worth reproducing. Order three ovals at a planing mill 
like those represented in the following illustration : 






The larger one is 40 inches high and the smaller ones are 34 
inches. The}' are made from lumber 6 inches wide and 1 inch thick. 
Cover the frames on one side with green cloth and on the other with 




62. Display of Souvenir Post Cards by Fred P. Wilson. 



red. Use the forms either in a perpendicular or horizontal position, 
and pin the goods to them. With euthymol tooth-paste or similar 
carton goods, the packages may be easily attached to the form, 



110 WINDOW DISPLAYS 

while the tubes themselves can be displayed on the window bottom. 
This scheme, I have found, adds greatly to the selling value of a 
window display. 

One use of such a design is in the display of postal cards, as 
shown in the accompanying engraving. Mr. Wilson tells us that he 
used this particular display for two weeks, and during this time the 
net profits from the sale of souvenir post-cards amounted to $20.50. 



63. POSTAL CARDS, SOUVENIR, NO. 2. 

Designed by J. F. Rupert, West Point, Nebraska. This window 
holds about 250 cards, and was changed every day. Each card ex- 
posed to view covered duplicates, so that if any one wanted a certain 




mmmmmtssm^ *■* * wm 



63. Display of Souvenir Post Cards by J. P. Rupert. 

design it could be sold without altering the display. Often a cus- 
tomer who entered the store to buy a particular card would select 
a number of subjects before leaving. This display remained in 
the window for two weeks and brought many sales. 



FOR DRUGGISTS 111 

64. PRESCRIPTION WINDOW NO. 1. 

Designed by H. W. Lammert, Cleveland, Ohio. This display- 
proved so successful that several other retailers in the city followed 
the example set by Mr. Lammert. As the illustration shows, the 
subject of display was the old prescription books which had been 




64. Prescription Window by H. W. Lanunert. 

accumulating for years. In the front of the window was a card 
declaring that ''83,000 prescriptions are shown in these books." The 
showing was an excellent one, and it cannot be doubted that the 
books had great interest for the passing public. An occasional dis- 
play of this sort is sure to yield returns of the very best kind. 
8 



112 WINDOW DISPLAYS 

65. PRESCRIPTION WINDOWS NOS. 2 AND 3. 

Designed by Joseph F. Hostelley, Philadelphia, Pa. The two 
exhibits of prescription department accessories seen in the accom- 
panying illustrations are displays that it will pay any pharmacist to 
d( sign. Because they do not directly dispose of goods does not 
mean that they arc not lucrative. They are professional; they attract 




65. Prescription Window by Joseph F. Hostelley. 

iiotice ; they impel patrons to ask questions concerning the devices 
on exhibition ; they tend to call attention to displays in other win- 
dows of the store ; they let the people see some of the things they 
crave to see, queer devices other stores do not expose, and make 
them feel toward this pharmacy a sentiment akin to that friendship 
which essentially follows a confidential disclosure. As drug window 
displays they are truly unique, and this in itself entitles them to 



FOR DRUGGISTS 



113 



consideration which is not due the major number of exhibits to be 
seen in pharmacy windows. Aside frcm their mere novelty, as 
before mentioned, they arrest attention because they treat of mate- 
rial about which a measure of mystery hangs. The placard in dis- 




65. Prescription Window "by Joseph P. Hostelley. 

play No. 1 reads : '"Just an idea of the apparatus we use in our 
laboratory and prescription work.*' The fan-like conceits seen on 
shelf in photograph Xo. 2 are clusters of folded filter papers. 



66. PRESCRIPTION WINDOW NO. 4. 

Designed by Frank E. Rogers, West Chester, Pa. Mr. Rogers 
says of this window : "The particular way in which I have utilized 
this prescription idea is, I think, original. Certainly it has been 
used by me to a great deal of advantage. It has excited the curiosity 
both of the children and grown people, of the rich and poor. I 



114 



WINDOW DISPLAYS 



had no idea it would create so much interest and talk. The display 
tells for itself that a prescription business is done here, and most 
people like to have prescriptions compounded where a large amount 
of work is done in that line. Unfortunately the photograph of the 




Prescription Window by Prank E. Rogers. 



display is not very good, but it will do to show the manner in which 
the files were arranged. I placed them in chronological order. I 
have only been in business here eight years, and I began with the 
prescriptions of the first year's business at the left side of the win- 



FOR DRUGGISTS 115 

dow and in front, and followed with each year's file, thus showing 
the gradual increase in business up to the eighth and last year. The 
only exception to the gradual increase in business was that of the 
sixth year, during which two of our leading physicians died. Con- 
sidering that I have had but eight years here, that the town con- 
tains only 10,000 inhabitants, and that I am located in a spot where 
there was previously no drug store, I think my prescription showing 
was a pretty good one. The card seen in the window contains this 
simple legend : 'This store has been established eight years. These 
are the prescriptions we have compounded.' " 



67. SARSAPARILLA. 

Designed by C. C. Green, Dayton, Ohio. As will be seen from 
the engraving, the central feature of this display was a well. The 
well itself was made of a box, and a roof was hoisted over it by 
means of four supports. The bucket that hung in the well was 
formerly a white-lead container. The roof was tinted with a little 
green to represent moss. The well was painted with a mixture of 
whiting three parts, plaster of Paris one part, with water enough to 
make a nice smooth paint, which was then applied with a brush. 
(This makes a pure white product, and in Mr. Green's opinion is 
a very satisfactory and yet cheap preparation with which to paint 
window displays. It may be colored with ultramarine blue or aniline 
to any desired shade.) Green excelsior was used in the bottom of 
the window for grass. The fence back of the well was made of lath. 

So much for the mechanical construction of the design. Pack- 
ages of Kalter's sarsaparilla were placed in the bucket, and a pile of 
bottles also put under the spout as though they had just been 
pumped from the bucket. Perhaps a dozen other packages were 
scattered elsewhere on the window floor. A number of signs were 
employed. "Kalter's Old Reliable Sarsaparilla''' was painted on the 
roof of the well, while the well itself contained the statement that 
"Kalter's Sarsaparilla Makes Cool Blood — 75 Cents." ''Makes You 
Weir was the legend painted on the spout. At the left of the well 
the figure of a boy is seen holding a placard in his left hand and 
supporting in his right a staff surmounted with a large sign ; the 
latter contained this: "The Old Oaken Bucket that Hangs in the 
Well — Filled with Kalter's Sarsaparilla — the Kind that makes YOU 
Well." The figure of the boy was an ad. sent out by the "Heides 




6 



WINDOW DISPLAYS 



117 



jujubes" people. To the right of the well, and fastened to the fence 
in the rear, was a sign reading: "The Same Good Old Sarsaparilla 
that We Made When We Started in the Drug Business 22 Years 
Ago I" 

Then, in addition to the foregoing signs, there were three 
fastened to the sash across the top of the window-pane having to 
do with other specialties bearing Mr. Kalters label — that is, two of 
them did, while the third contained the statement that "We Have 
Filled 33,60s Prescriptions During the Past 22 Years Without a 
Single Mistake." 

68. SCHOOL SUPPLIES NO. 1. 

Designed by Loren D. Larkin, Glens Falls, N. Y. This display- 
was made at the beginning of school in the fall, and we caught the 




68. Display of School Supplies by Loren D. Larkin. 



children when they needed the goods. The well in which hung the 
"old oaken bucket" was made of five-cent school tablets as seen in 
the illustration. Excelsior, colored green to represent grass, was 



WINDOW DISPLAYS 119 

spread thickly around the entire window space outside the well. 
The frame was made of boards and covered with blue cheese-cloth, 
the drum consisting of large, round pasteboard cartons. A long 
brass chain, borrowed from a dealer, was wound around the drum 
and attached to the bucket, which consisted of an empty white-lead 
keg covered with moss gathered for the purpose. The bucket was 
nearly filled with excelsior, and an assortment of penny pencils 
stuck into this to fill the bucket. The bottom of the well was cov- 
ered with pencils, which could just te seen from the outside. The 
roof was covered with tablets, real vines were twined around the 
framework and, together with moss, covered the top of the well. A 
large card, removed when the picture was taken, was worded : "Any 
tablet around the well, 5c. Any pencil in the bucket, lc." 



69. SCHOOL SUPPLIES NO. 2. 

Designed by I. Earl Taylor } Gridley, III. Mr. Taylor's window 
. is eight feet wide and five deep. He covered the sides with black 
cloth and pinned thereon pennants and arm bands of red felt with 
the letter "G" or the word "Gridley.'' These bands were of white 
paper lettered black and cut a little large so as to bring out the 
contrast. The pennants arranged on both sides of the window were 
very conspicuous, but unfortunately the color effects are lost in the 
accompanying reproduction. 

The signs were made with an air pencil on black cardboard. 
The background, too, was made of black cardboard, the lettering 
being done in white. Pennants were hung in a circle around the 
painting, while on the floor lay a profuse assortment of school 
supplies. 

70. SHAVING SUPPLIES. 

Designed by J. T. Pepper, JJ^oodstock, Ontario. The horseshoe 
and the three uprights were all made of wood : the latter were con- 
structed of pieces of boards nailed together, and they were all cov- 
ered with pale-blue paper. Shaving mugs were hung on nails on 
the horseshoe. On the boards were fastened all kinds of shaving 
brushes and strops. On the floor of the window were shaving soap 
in cakes and sticks, Florida water, bottles of genuine imported and 



120 



WINDOW DISPLAYS 



also domestic bay rum, talcum powders, and bottles of Mr. Pepper's 
own preparations for the skin and "after shaves." We have Mr. 
Pepper's assurance that this window sold the goods. 




70. Display of Shaving- Supplies by J. T. Pepper. 



71. SHAVING SOAP. 

Designed by J. T. Pepper, Woodstock, Ontario. The first fea- 
ture to strike the observer consists of two large rings filled with 
circular bars of soap — a very symmetrical arrangement. The frame- 
work is entirely of wood. It consists of two barrel hoops wound 
with light-blue paper and nailed to square boards which are covered 
with the same material. 

Shaving sticks of different kinds are fastened to each corner 
of the two boards. The steps in the window are carpeted with 
white cheese-cloth. Shaving soap in bars, cakes, and sticks of dif- 

















i;x:J.. -. ■.;•.'. 




f$H MB _ ^ > 








■p /**?■*"* \ 


x "HT* 






■ /V><. 








K ■ fij*** 








m^/v>^ j i 




; f" ; -.. ; .- .■ I|^:i;:;', 




™— ; 1 /;, 




■ ;& '"" :i ": : SS!; r: ' : ;' ; ": l ' :T - 




: ■"- 




vgSlV' 




-T ^ V» v 1 








■ N ^ j * 


: 


- .^«|: -V : ;p^,.- : ., V ,^:.. : . : 




HP i 






■ t «mm 


->.' 


<—; 




■ & V * ; 


;7- , :pl;'..:-'-- 

1 1 ° ~ 5 c 3- t 






?**«^te3fc * j* 










V" 


mm 




j§| $. **£»$■* *fe 


H ,< i " * . 








it 


* 


;g» ; ; ; ': : ?'-: 




i x 








■ » ^'i" ; 


., #f pf 


Sg^^c^- : 



ft 



122 



WINDOW DISPLAYS 



ferent make are grouped around. On the floor of the window rest 
packages of talcum powder and shaving soap. The cards read : 
"200 Shaves 10 Cents," "Best Shaving Soap 10 Cents." 

This window brought Mr. Pepper a good business in shaving 
supplies, including not only soap but strops, brushes, mugs, after- 
shaves, and a variety of talcum powders. 

72. SICK-ROOM SUPPLIES. 

Designed by A. M. Horn, Washington, Pa. This display rep- 
resents a sick-room scene with the patient in bed and the doctor 
and nurse in attendance — all represented in the window. 

Mr. Horn borrowed the wax figures from a neighboring dry- 




72. Sick-room Window by A. M. Horn. 



FOR DRUGGISTS 123 

goods merchant with the understanding that he was to return 
them in good condition. He set a small stand at the head of the 
bed, placing thereon a glass of water and an empty glass holding 
a spoon. Near by were a bottle of medicine and a vase of flowers. 
The back of the window was covered with white cheese-cloth 
stretched tight to represent a wall, while an old door gave the scene 
the appearance of a real room. The door itself was borrowed from 
a lumber-yard, having been taken from a demolished house. 

The doctor put on no special clothes for the occasion, but wore 
second-hand garments. The nurse, we are told, was dressed in an 
outfit which had been borrowed from a dry-goods merchant for a 
trifle. The couch was a child's bed belonging to the proprietor of 
the store. At the head of the bed hung this sign: "Nurse: Give 
the patient Parke, Davis & Co/s remedies only, and wrap the child's 
hands in Johnson & Johnson's bandages. Then she will soon re- 
cover." 

The rugs on the floor were loaned to Mr. Horner for a small 
sum by a house-furnishing establishment. They consisted of a 
few different styles of Brussels carpet — remnants. 



73. SMOKERS' SUPPLIES. 

Designed by H. M. Curry, Ellsworth, Kansas. The background 
was made of Indian blankets suspended from a wooden frame. The 
floor of the window was covered with Indian blankets and rugs. To 
the background were attached specimens of Indian beadwork, bow 
and arrows, an Indian papoose cradle, and some beaded moccasins. 
On an elevated shelf, running the whole width of the window, in 
front of the background, were Indian pottery and basketwork, with 
some tom-toms and tomahawks. 

The floor was covered with pipes arranged in circles and fan- 
shaped designs, and in the center was a large pipe made of small 
bags of smoking tobacco. At either end of the window was a pyra- 
mid of smoking tobacco in five-pound cartons : these pyramids, how- 
ever, are not shown in the illustration. The show-card. "Smoke 
Up," was made of white bristol-board with a gray mat. 

The whole design was meant to suggest a man's den or cozy 
corner, and it certainly made a very attractive display. The acces- 
sories were mostly borrowed for the occasion and were returned 
afterwards. 



WINDOW DISPLAYS 125 

74. SOAPS. 

Designed by H. W. Scest, Fort Wayne, Ind. This display 
proved very striking. The little folks would stop their parents and 
exclaim : ''Oh, mamma ! Look here !" 




74. Soap Display by H. W. Soest. 

The figure in the bath tub was a large doll surrounded with 
soap. She held a sponge in one hand and a cake of soap in the 
other. 

75. SODA WINDOW NO. 1. 

Designed by H. M. Curry, Ellsworth, Kansas. There is nothing 
elaborate about this display, and yet it is very artistic and attractive. 
The decorations were in white and gold. The semicircle in the rear, 
to which the illustrated cards of the fruit- juice manufacturers were 
pinned, was made of pleated cheese-cloth or bunting. There were 
two shelves; on one was simply a row of fruit-juice containers, and 
on the other were two containers of different design, with a placard 
in the center embodying a large fruit piece in colors — the advertise- 
ments, of course, of the fruit-juice manufacturers. At either end 



WINDOW DISPLAYS 



127 



of the shelves was a neatly covered pedestal surmounted with a 
potted plant. 

A unique feature of the display was the fruit in the center and 
in front. Here was a large block of ice in which had been frozen 
a bouquet of roses and carnations, together with some fresh fruits. 
This attracted a great deal of attention, and lasted two days. Cards 
were placed on supports at either side of the window, and read as 
follows : "Straws Show Which Way Our Good Soda Goes," and 
"Nice, Clean Service and Plenty of Ice are Two of the Things that 
Make Our Soda Right." These cards were of course made by Mr. 
Curry himself ; and fastened to the large letter "S" in the card at 
the left-hand were some real straws in order to give an effect of 
realism. Finally, two small placards, advertising ice cream, were 
pinned on to the supports under the potted plants. 

This window display was used during the week in which Mr. 
Sherriff, Mr. Curry's employer, had his soda opening. He sent out 
a neat invitation to the people of the city, accompanied by a prettily 
designed menu card, and although the weather was unfortunate, 
the free soda flowed generously all day long, and the event was in 
every respect notably successful. 

76. SODA WINDOW NO. 2. 

Designed by H. M. Curry, Ellsworth, Kansas. The framework 
of this window was built of 1x3 lumber, arranged in the manner 
roughly shown by the line drawing reproduced herewith. A frieze 



was employed at the top, made of heavy cardboard. In the center, 
between the two interior posts, the cardboard was bent over a cross- 
piece, nailed to the center of the frame, in a manner which made a 
sort of swell front. 



WINDOW DISPLAYS 129 

The four columns were made of pasteboard, bent in a semi- 
circle, and nailed to the upright pieces of the frame so as to repre- 
sent half round columns. The "capitals" at the top were wood blocks 
turned out by a carpenter. The whole thing was made white with 
alabastine and trimmed with door-stock molding as a finish at the 
top and bottom of the frieze. Below the frieze lace paper was hung 
as an additional decoration. The pictures of fruits, pasted at inter- 
vals on the frieze, were cut from show cards furnished by the manu- 
facturers of a well-known line of fruit juices on the market. 

A shelf was used along the front and side of the window, and 
leaning against this, in the manner shown in the engraving, were 
more of the show cards furnished by the manufacturers. On the 
shelf itself were jugs of the fruit syrups, as well as two or three 
neatly covered boxes used also for the display of various articles. 
The box in the center had a very handsome punch bowl on it; this 
was kept filled with fresh fruits during the time the display was 
in the window. Dispensing glasses, Sundae cups, and so on, were 
scattered about the window. Window strips were used on both the 
right and left sides of the window, but are shown on only the right 
side in the engraving. 

The two cut-out figures, seen at the right and left hands, were 
procured from the Prima Tonic Co., of Chicago. Mr. Curry remarks 
that these may be procured by any druggist upon making a postal- 
card request. Finally, the bottom of the window was trimmed with 
white cheese-cloth artistically "rumpled up.'' 

77. SPECIALTY WINDOW NO. 1. 

Designed by B. S. Cooban, Chicago, 111. This celery compound 
window — which, by the way, attracted a great deal of attention — has 
for its nove'l feature a pile of old boots and shoes, over which is 
the legend: "Worn Out in the Mad Rush for Celery Compound." 
The idea can be used for many things. 

Try it on one of your specialties. 

78. SPECIALTY WINDOW NO. 2. 

Designed by Judson B. Todd, Ithaca, N. Y. First let us quote 

Mr. Todd's own telegraphic description of the figure which com- 
prises the central feature of the window : 

"Bust and skirt form secured from a dry-goods store; skirt 



WINDOW DISPLAYS 



131 



made of chamois ; bust covered with a shirt-waist ; sleeves stuffed 
and then covered with chamois ; rubber gloves on the hands ; one 
hand made to carry a sponge bag in which was tucked a Japanese 
paper napkin ; red chamois collar ; ear sponge for a stick-pin ; 
sponge face ; raised sponge for nose ; pink cotton for lips, drawn 













li -v JlB W 




- Ill 




W$ Ht"'-^ \ 








1 ^^^ ~ J 
















f p*^ 1 


Is 


■ V . ; I 




f I 


jf 






, * 






JL^ ? 


• ' <*~"^ 


..iam 









78. Specialty Window by Judson B. Todd. 



back in the mouth; jute for hair; artificial eyes ; a few small 
sponges sewed on an 'elephant's ear' for the hat, with black pompon 
of ribbon stuck in ; bunch of artificial violets on the breast." 

Mr. Todd informs us that this beautiful specimen of the fair 



WINDOW DISPLAYS 133 

sex attracted a great deal of attention as the bright particular star 
of a sponge window during the first week of her existence. Then 
she was taken out and given a rest for a week, after which she was 
brought back, and — quoting Mr. Todd again — ''made to 'holler' for 
Vinol." She is seen doing this '"hollering" in the accompanying 
illustration. 



79. SPECIALTY WINDOW NO. 3. 

Designed by Bcericke & Runyon, Los Angeles, Cal. This win- 
dow might be used with a spring sarsaparilla, a beef, iron and wine, 
a combination of iron, quinine and strychnine, or any similar prod- 
uct. The display was made in the following manner : 

Eight money sacks were bought of or especially made by an 
awning manufacturer, and from a bank eight tags were secured such 
as are commonly employed in being fastened about the neck of 
money bags in order to indicate the amount of specie represented. 
The sacks were of course filled with corks instead of money, but 
several marks were made on the outside with real dollars in order 
to deceive the eye. In the bag nearest the sign a small hole was 
cut large enough to let a dollar slip through : twenty new silver 
dollars were placed near the hole as though they had issued from 
it. The sign at the right tells the rest of the story without any 
further description. 

It is only necessary to add that a new dollar bill was fastened 
on the right-hand panel of the sign, to which the index finger was 
pointing. The tonic was placed near the dollar bill so that the 
meaning was made clear. The money bags were likewise placed at 
the left, so that the index finger in that case pointed clearly to 
them. Finalry, the large placard in the rear of the window told 
the merits of the tonic compound briefly and concisely. Bottles of 
the tonic were piled up near this card. 



80. SPECIALTY WINDOW NO. 4. 

Designed by J. Austin Bayes, Fenny Stratford, England. In 
this window the central object and only item of stock exhibited was 
a 25-bottle of "Nervoid Tablets" (Mr. Bayes's own preparation), 
placed on a pyramid surrounding a platform, the remainder of the 



WINDOW DISPLAYS 135 

window being draped and curtained, and beautified by vases of fresh 
flowers. Appropriate signs were placed here and there, those most 
to the point being: "They Stand Alone," and "A Tip-Top Remedy;" 
whilst others were : "A Big Headache Cure for a Little Money," 
"Many Testify to the Immediate Cure of Neuralgia by Bayes's Ner- 
voids," and so forth. The materials used for the display were : for 
the floor, dark-green sateen ; for the platform, orange sateen ; for 
the pyramid, purple (crinkled paper pasted on cardboard) ; and for 
the curtains, heliotrope and canary. The results of the window 
were : good sales and prestige. 

The idea, of course, can be used with any preparation of the 
pharmacist's own manufacture. 



81. SPECIALTY WINDOW NO. 5. 

Designed by C. W. Holzhauer, Newark, N. J. This window 
represented Mt. Vesuvius, the region from which sulphur comes. 
Mr. Holzhauer writes : 

"We have a man who is quite clever with the brush, and had 
him paint on muslin as a background a representation of the Bay 
of Naples. This was hung in the shape of a semicircle from the 
top of the window. In the center we had a volcano, made by cov- 
ering barrel hoops with wire gauze and then enveloping the whole 
in plaster Paris, and finally painting it various colors to represent 
lava flowing down the sides. On each side of the volcano we had 
some trees and several small houses, one of them being labeled- 
'Holzhauer's Sulphur Factory.' A little horse and wagon full of 
sulphur were seen coming from the factory. A continual jet of 
steam ran up through the center. At night we used red lights for 
illumination and had a red and green flash in the crater of the 
volcano. 

"The signs along the sills and top of the window, in yellow and 
brown, carried out the color scheme very well. It took consider- 
able time and expense to get up the display, but it was one of the 
most attractive and profitable windows we ever had. The total 
cost, including time and labor, was about $25, but it made a sale 
for fifteen gross of the ten cent and two gross of the twenty-five 
cent size in less than a month. Even now we have quite a steady 
call for the tablets, so the display has been of lasting benefit." 



81. Specialty Window by C. W. Holzhauer. 



WINDOW DISPLAYS 137 

82. SPICES. 

Designed by H. M. Curry, Ellsworth, Kansas. This trim con- 
sisted essentially of three rows of goods. On the top were cans 
of spices, including red pepper, white pepper, cinnamon, nutmeg, 
cloves, ginger, and mustard. On the second shelf was a row of tall 
glass jars polished and labeled. They contained white pepper, pow- 
dered cucumber seed, allspice, celery seed, nutmeg, cloves, turmeric, 
mace, powdered sweet marjoram, powdered cinnamon, mixed spices, 
white mustard, nutmeg, and caraway seed. Then there were whole 
spices on white china plates covered with glass bells. They, too, 
were labeled, and included cream of tartar, allspice, ginger-root, 
whole cloves, Mexican sage, not to mention 8-inch test tubes of 
vanilla and lemon flavoring extracts and other things. 

The window cards were Mr. Curry's own work, the largest one 
showing a red Maltese cross on a white background. The sign to 
the left read : "As good as nature grows,'' while the one on the 
right said : ''You can't make good pickles without good spices." 
At the bottom was an oval sign : "They cost no more than inferior 
brands." 

83. SPONGE WINDOW NO. 1. 

Designed by Charles A. Miller, Boston, Mass. The accompany- 
ing unique production is readily constructed from the ordinary stock 
of the average pharmacy. A roll of dark-green crepe paper and a 
few pieces of suitable wire are the only articles required other than 
sponges. 

For the flower-pot in the center Mr. Miller used an 18-inch roll 
of wrapping paper. Its shape was obtained by tacking circular pieces 
of heavy cardboard, 5 or 6 inches larger in diameter than the roll, 
to its top, and gluing an inch strip of cardboard around its edge, 
then wrapping with brown crepe paper to produce the shape shown, 
gluing only at the top and the bottom. 

The display designs at each side were formed by bending heavy 
wire (telegraph wire) into the shape of an inverted "U" and insert- 
ing the ends through both the top and the bottom of wooden boxes, 
5 or 6 inches high. Sponges were attached to this wire with very 
fine wire or linen thread, so as to be easily removed without tearing, 
if desired. Price tags with catchy inscriptions were affixed to the 
different varieties, viz.: "Both hands to hold this fellow — $1.50." 

Don't make the pot until the lily is completed, as it can easily 



140 WINDOW DISPLAYS 

be laid aside for this purpose. For the lily itself procure six pieces 
of quite stiff wire, 18 to 20 inches long, with sufficient rigidity to 
support the sponges. Wires used for the support of some counter 
display stands were appropriated in this instance. Bend each wire 
into the same shape (any design can be chosen). The design here 
selected might be described as shaped like an old-style italic U S;' 
but at the bottom of the letter bend the wire down at right angles, 
leaving a stem for insertion into the wooden roller block that is 
found in each end of the roll of paper. With this block in its usual 
place, bore six holes equidistant around it, and insert the six wires. 
Now string small flat sponges on each wire until full. It can be 
readily seen now how the flower is formed or changed by bending 
to any symmetrical shape. Use a large, good-shaped sponge for 
the center; around this center place a string (on line wire) of 
selected, round-shaped sponges; wire both to the block if desired. 

Now procure a very heavy iron wire or rod of sufficient length 
(about three feet), bend it into an irregular shape to simulate a 
root, and have three inches of the top end bent almost at right 
angles so the flower has a proper position. Then remove the par- 
tially formed flower with its block from the roll, insert the top of 
the heavy wire through a suitable cork that will firmly plug the 
hole in the wooden roll, and affix the wood. The other end of the 
wire is pushed down through the roll of paper; and the part show- 
ing can be covered with green crepe paper, or pushed through two 
loofahs lengthwise to represent the stalk. 

The flower is now in position, and the leaves can be easily 
attached. Procure a roll of dark-green crepe paper and a spool of 
small, pliable wire from the hardware store. Cut six leaves the 
shape desired from the paper, cutting across the roll, not length- 
wise ; also cut six pieces of wire several inches longer than the 
leaves, straighten them, and with a bit of glue (paste won't hold) 
fasten a wire to each leaf, lengthwise. When dry they are readily 
shaped with the fingers and are simply fastened to the rod or block 
at the back. They will retain their shape and position if you use 
wire the size of a knitting needle. A bit of glue connecting the 
leaves where they intersect aids matters. A suitable sponge is used 
to cover the block and the connecting wires. 

The stamen in the center of the flower is made by covering 
short pieces of fine wire with bits of sponge clipped from inexpen- 
sive sponges, inserting these in position, and bending the wires to 
the suitable shape. A very flower-like effect is produced by inserting 



FOR DRUGGISTS 



141 



the flat loofahs in the center of each leaf between each wired row 
of sponges as shown. The loofahs are first wired with the spool 
wire, bent to shape, and then tucked under the centerpiece and 
wired to the rod. 

This should be the finishing touch. After placing in the win- 
dow, and covering the top of the pot with a layer of sand, you have 
completed a picture which a lack of coloring in the photograph fails 
to do justice to, but from the illustration a faint idea can at least 
be gotten of a very pretty and really artistic display. It need only 
be said that the two cards seen on either side contained these 
legends: "Sponges from 2 cents to $2.00," and "Remember where 
you saw sponges:'' Some striking legend is almost a necessity in 
the window. 

84. SPONGE WINDOW NO. 2. 

Designed by J. T. Pepper, Woodstock, Ontario. '"Do sponges 
grow on trees ?" was a question frequently asked during the week 
of this exhibit, and it suggests the main theme of the display. Of 




84. Display of Sponges "by J. T. Pepper. 





&mm tl 


■> ''fSflSSLr * 1 If • 

IE 




^ * -- SI 




J 


i 


1 5 



WINDOW DISPLAYS 143 

course most people, in putting this question, were indulging in face- 
tiousness, but doubtless a few inquirers were in earnest. 

Three small cedar trees, with their "evergreen" stripped off, 
were utilized as the basis of the display. The sponges were hung 
on the branches, and the result was unique and attractive. Price 
cards indicated that 10-cent sponges, 20-cent sponges, and 30-cent 
sponges were shown respectively on the three trees. Larger sponges 
and loofahs were placed about on the floor of the window. 



85. SPONGE WINDOW NO. 3. 

Designed by C. G. Gibson, Kansas City, Mo. This display was 
designed by Mr. Gibson and appeared some }^ears ago in one of the 
windows of Mr. W. P. Hucke's well-known pharmacy in Kansas 
City. A great variety is shown of sponges, bath brushes, bath mit- 
tens, and about everything else that can possibly be utilized for bath 
purposes. The quantity of goods was unusually great, the arrange- 
ment was attractive, and the result was that the window drew the 
crowd and sold the goods. 



86. SPRING TONIC WINDOW NO. 1. 

Designed by Boericke & Runyon, Los Angeles, Cat. The dis- 
play shown in the accompanying illustration very largely explains 
itself, and the idea is certainly a clever one. Incidentally it may be 
said that Boericke & Runyon seem to have a knack for getting up 
trims that are inexpensive and simple on the one hand, and catchy 
and interest-compelling on the other. 

The life-buoy or preserver shown in the display was borrowed 
from a ship-chandler. The large placard in the center was made 
of one sheet and explains itself, as does also the pile of "G C. C. 
Tonic" on the right, which extends around in front of the placard 
on the window floor. The small card in the front of the window, 
seen in the engraving, bears this simple message : "$1.00 a Bottle. 
Sample Bottle, 15 Cents." 

Boericke & Runyon assure us that the display attracted a great 
deal of attention and sold "many gross of the sample bottles and 
several dozen of the dollar bottles." 
10 



WINDOW DISPLAYS 



145 



87. SPRING TONIC WINDOW NO. 2. 

Designed by B. S. Cooban, Chicago, 111. The central idea in 
making this window display was that of spring medicines; and the 




87. Spring- Tonic Window by B. S. Cooban. 

idea of spring was therefore made prominent. A double arch was 
fitted to the back of the window. A shelf standard, decreasing in 
size upward, was placed in the center of the window. Both the 



146 



WINDOW DISPLAYS 



arch and the standard were covered with white cheese-cloth ; and 
upon this sarsaparilla cartons and elixir of iron, quinine and strych- 
nine dummies were placed. Resting on top of the standard was a 
buggy spring. Suspended from the ceiling by fine wire was a 
bundle of sarsaparilla, and hanging from this was a card label : 
"Honduras Sarsaparilla." For a background two spring-bed models 
were borrowed from a neighboring furniture dealer. Hanging in 
various places and lying around promiscuously were clock and 
watch springs, wagon springs, door springs, spiral springs, and 
other springs that need not be named. Appropriate signs were 
displayed which speak for themselves. 

88. STATIONERY WINDOW NO. 1. 

Designed by B. A. Chanibcau, New York City. The accom- 
panying sketch gives a good idea of how the display may be made. 




88. Display of Stationery by B. A. Chambeau. 



Tip a big wooden box over in the window, and half throw, half 
pile in it and in front of it a lot of boxes of the line to be featured. 
Allow some of the boxes to be open, with contents partly spilled 



FOR DRUGGISTS 



147 



out, to increase the tumbled appearance. At the side of the box 
throw a lot more goods. Up against the glass, high enough so that 
it will not obscure the view of the display, and yet not too high to 
be easily read, place a sign similar to the one in the sketch. This 
will be more in keeping with the display — and still be artistic — if 
drawn on a very heavy strip of brown paper, with torn edges. The 
lettering should be in jet-black, preferably glossy ink. 

89. STATIONERY WINDOW NO. 2. 

Designed by J. R. Holt, Newman, Georgia. The background 
was made of newspapers, pasted all over which, in intentional con- 







< 



■i 




89. Display of Stationery by J. R-. Holt. 

fusion, were envelope slip ads. setting forth the different kinds of 
writing-paper handled and their prices. The sign, "Stationery 
Buyers," etc., seen in the center of the back, was painted in water- 



-r * 




WINDOW DISPLAYS 149 

colors, the two words at the top and the three at the bottom being 
in red, and those in the center in black. The design seen on either 
side of the window, and reaching up from about half-way back in 
the window-bed, is the lower part of an arch, the top of which is 
unfortunately not seen in the illustration. The top of this arch was 
made of a half wagon-wheel rim, and the sides of two-inch wood 
strips ; all being covered, of course, with either cloth or paper. From 
the center of the arch was suspended an electric light, which was 
just outside the reach of the illustration and therefore not seen in 
it. The bed of the window was rilled with the boxes of writing 
paper advertised, as can be seen by the illustration ; and the prices, 
which should form an essential part of a window display, were 
given on the slips pasted on the newspaper-back of the window, as 
has been mentioned in the foregoing. 



90. SURGICAL GOODS NO. 1. 

Designed by H. M. Curry, Ellsworth, Kansas. The framework 
of the bridge was first made in the following manner : The frame- 
work for the two towers was constructed of light lumber, and was 
in each case 12 inches wide and 36 inches high, with a crosspiece in 
the center upon which rested the floor of the bridge. The two 
abutments were simply packing-cases 12 or 14 inches square. Then 
the floor of the bridge was composed of two strips of light batten 
lumber reaching from abutment to abutment, and resting upon the 
crosspieces of the two towers. The swinging cables were made 
by stringing rolled bandages on wires loosely stretched. As may be 
seen from the illustration, two-ounce packages of absorbent cotton 
were placed along the floor of the bridge ; one-pound packages of 
"hospital cotton" were tied to the framework of the towers in order 
to conceal them ; and the same treatment was accorded the packing- 
cases used as abutments at either end of the window. 



91. SURGICAL GOODS NO 2. 

Designed by Raymond L. Johnson, Savannah, Georgia. Place 
an operating table and an instrument cabinet in the window. Take 
three dummies and dress them up to represent surgeon, nurse, and 
patient. On the stand place instruments such as forceps, amputating 
knives, and saws ; also ether and chloroform. Then put a mask over 



WINDOW DISPLAYS 151 

the patient's nose and mouth, and arrange surgical dressings, cot- 
tons, gauzes and oxygen gas as shown in the photograph. These 
complete the window. 



92. TALCUM POWDER NO. 1. 

Designed by J. T. Pepper, Woodstock, Ontario. Boxes, covered 
with white paper, were placed on the floor of the window. The 
sign, "Pillars of Comfort/' was printed on a long piece of white 
paper and placed in the proper position on the front of the boxes. 
The "pillars" were four lengths of stovepipe, covered with news- 
paper and then with a red ingrain paper. The labels were white 
paper with the words "Talcum Powder" printed on them with rub- 
ber letters. These "pillars" were intended to represent large tins 
of talcum powder. Between each "pillar," and at the rear, were hung 
the pictures of the tennis girl. On top of the ''pillars'' was a board 
covered with white paper, and on this were rows of tins of different 
kinds of talcum powder. Boxes of the powder were placed on top 
of the boxes around the bases of the "pillars," and also along the 
front of the boxes which served as a foundation for the "pillars." 
Talcum powder tins of different kinds were also put on the floor 
of the window in a liberal way. 

In the window were over two gross of talcum powder of five 
or six different makers. The "head in the rose" at the top of the 
display was a perfume advertisement. 

A great many people complimented Mr. Pepper on the display 
and he sold a lot of talcum. It turned out that it was hot weather 
during the display. The hotter the weather during a trim of this 
kind the greater will be the results in the number of sales made. 

93. TALCUM POWDER NO. 2. 

Designed by A. J. Rossbacher, KendallviUe, Indiana. The 
central feature of the display was an air-ship labeled "Otis," which 
could be seen sailing over the mountains and waters, while below 
was a sign telling spectators that it was unnecessary for them to go 
up in an air-ship to keep cool. The same relief would be secured 
by using Otis's violet talcum powder. 

The boxes of talcum powder, as may be seen from the illustra- 
tion, were arranged on a white porch constructed in the window. 




r 



154 



WINDOW DISPLAYS 



The steps were made from wood, and painted white with alabastine. 
The pillars above were constructed of strawboard and painted white. 
The background of mountains and water, seen through the opening, 
was painted on cloth or canvas. The air-ship itself was made from 
wood, hollowed out and painted white. The basket below the ship 
was of white pasteboard, with red window sashes ; and the windows 
were of gelatin, with one stripe of red in the middle. The propeller 
was made of tin, and so constructed that it would revolve both 
backwards and forwards from a draught secured through the opera- 
tion of a small electric fan at one side of the window. The air- 
ship was suspended from a belt above by two invisible wires. This 




Diagram showing the apparatus for operating the air-ship: (1) belt for air-ship; (2) 
air-ship; (3) electric fan; (4) pulleys for belt; (5) top board; (6) water motor. 

belt was, in turn, operated by a water motor set under the window 
floor in a manner shown in the accompanying diagram. Of course 
one may do without this feature of the display if he chooses, and 
simply keep the ship quiet. But a much more realistic effect is 
secured in the manner described. 

The sides and bottom of the window were puffed with pink 
cheese-cloth ; and, to give more color, pots of "wandering jew" 
were placed at each end of the wall. Violet-colored boxes of the 
talcum powder were displayed on the steps, and altogether the color 
harmony was very pleasing. 



FOR DRUGGISTS 155 

94. TALCUM POWDER NO. 3. 

Designed by B. S. Cooban, Chicago, III. Of the display shown 
in the accompanying engraving Mr. Cooban has this to say: 

"There is nothing special to describe in this talcum window. 
Empty cases and boxes were made to form a background for the 
display of the cylindrical tin packages of the powder, which were 
piled up in pyramidal form ; and the impression was thus conveyed 
of an immense stock. There is nothing specially artistic or orig- 
inal about the display; it simply illustrates our policy in making- 
displays — i. e., of having one thing at a time instead of a hetero- 
geneous bunch of everything without design or point. 

"We find that at times it pays to display a large quantity of an 
article. It makes an impression that lasts. Occasionally, we feel at 
the time that a display produces no effect, but it is no uncommon 
thing for people to speak of it weeks afterward. 

"The signs and posters used in the present display are those 
sent with the goods.'' 



95. TALCUM POWDER NO. 4. 

Designed by H. M. Curry, Ellsworth, Kansas. This display 
was intended more to impress observers with the fact that the 
stock of talcum powders included all the leading brands than to 
boom any special make. Mr. Curry realized the fact that magazine 
advertisements, properly read and persistently continued, are bound 
to induce a demand for the goods. He watches the magazines, buys 
the meritorious articles advertised, and is thus enabled to keep up 
the reputation he has striven for: "If it's good, you'll find it here." 

The display is arranged on a platform 5 by 10 feet in dimen- 
sions, covered with green wall-paper. The arches are cut from 
cardboard 30 by 40 inches in size, and decorated with a stencil on 
ordinary wall molding. The sign at the top is painted in water 
colors on a piece of ceiling paper, giving it a watered silk effect, 
in three colors — black, red and orange-yellow. 

The different boxes of powder are arranged about a foot back 
of the open archways, and back of them are advertising designs 
furnished by the manufacturers. The fancy border is a four-inch 
strip cut from wall-paper. At night a brilliant light is thrown 
directly down on the goods back of the archways, while the front 



WINDOW DISPLAYS 159 

of the design is only partially lighted, thus making a pretty effect. 
The whole idea is all so clean and well-balanced that it is too good 
to lose. Others may change the sign to fit the display. 

96. TELEPHONE ORDER BUSINESS. 

Designed by H. M. Curry, Ellsworth, Kansas. This window 
was gotten up to increase the 'phone order business. The telephone 
pole and cross-arm were the real things and were borrowed from 
our local exchange. The telephone company was glad to extend us 
the courtesy, and offered to be of more assistance. 

The 'phones were cut-outs, furnished by the Dr. Miles Com- 
pany. Over the words '"pain pills" was pasted a different phrase in 
each particular instance. On the lower part of the 'phones, where 
the ads. were placed, was tied articles representing the things desig- 
nated : For ice cream, there was an ice-cream paper bucket, filled 
with a fluff of absorbent cotton ; and for the doctor, a lot of pre- 
scription blanks showing the name and address of every physician 
in our locality. Prescriptions were represented by an eight-ounce 
vial stained to look like medicine, and duly labeled; and thus Mr. 
Curry proceeded throughout the display. The phrase "Call us up" 
was printed on every 'phone above the mouthpiece and carried out 
the general idea of the display effectively. 

The background was white cheese-cloth loosely draped, with 
wall-paper at the top. At the back was a large cut-out representing 
the front of our store, showing the signs as they actually are. From 
each 'phone was stretched a pretty baby ribbon "wire" leading to 
Sherriff's. The sign, "Phone your orders to Xo. 25," was painted 
in water colors on the windows. "All 'phones lead to Sherriff's" 
was printed in white on a red cross-arm. 

The telephone pole was also rendered white with a light wash 
of alabastine. The floor was brown. Over the raised platform, 
built of boxes and boards, was a cover of green burlap. Mr. Curry 
was careful to wire the superstructure lest it fall and injure the 
window. 

97. THANKSGIVING CANDY WINDOW 

C. H. Pitts, St. Paris, Ohio. The color scheme was white and 
gold. The top of the window was covered with white and gold 
crepe paper braided like basket work, the strips being five inches 
11 







*™ { 3 w&\ 



OtH Ui*»n 




97. Thanksgiving Candy Window by C. H. Pitts. 



WINDOW DISPLAYS 161 

wide. White crepe paper overspread the back and sides of the 
window, and in addition the back was draped as shown in the 
accompanying engraving. Artificial autumn leaves were pinned 
around the edge of the display. Two wish-bones which measured 
eighteen inches under the arch were suspended from the top, and 
on each one was perched a small papier-mache turkey with spread- 
ing tail. Small wish-bones from different fowls and birds were 
suspended on threads from the top. The signs read : "We give 
thanks for life's sweets." "It's your wish to get the purest and 
most delicious chocolates." "It's our wish to supply you with these 
line chocolates." 

The floor of the window was covered with white crepe paper. 
Upon this lay a large mirror, 28 by 36 inches, which supported 
pyramids of chocolate creams, chips, and cakes. A small turkey 
stood on top of each pyramid. On each side were fancy boxes of 
chocolates, while many fine packages were displayed on racks made 
for the purpose. Bouquets of artificial white, yellow, and red 
chrysanthemums appeared on each side of the window. Just back 
of the mirror was a large wish-bone, prongs down. Beneath the 
arch stood a sheaf of natural wheat, bound with red ribbon. A 
small turkey was perched on top of the bundle and another at the 
base. 

The large wish-bone measured three feet under the arch. All 
three of the large bones were made from pine boards whittled into 
shape, and painted and tinted like bone. 



98. TOILET CREAM NO. 1. 

Designed by A. Armor, Allegheny City, Pa. The subject of 
this window is Pequer's ( !) Famous Pansy Cream for the face, 
hands, skin, and complexion. Confidentially we may whisper it in 
your ears that this now famous French specialty is made in Mr. 
Armor's back room. Years ago he wisely decided that a French 
flavor to a toilet preparation would "take," and the results have 
abundantly justified his view. By continuous and adroit "pushing" 
he has worked up an annual sale on the preparation averaging from 
15 to 20 gross! Not bad, is it? He puts it up in two- and four- 
ounce Western oval bottles and retails them at 15 and 25 cents. 

W^ell, so far as the display is concerned, it was made in the 
following manner: A pyramid was formed of the blue boxes in 



162 



WINDOW DISPLAYS 



which the preparation is put, and against these the preparation was 
placed, as can be seen from the illustration. The contrast of white 
and blue made a very pretty effect. The young woman who graces 
the center of the scene is a "Sen Sen" damsel, and came in just 




98. Display of Toilet Cream by A. Armor. 

in time, says Mr. Armor, to serve a good and useful purpose ! Her 
pretty picture-face and lifelike appearance added much to the dis- 
play. The card at the top of the pyramid was made by sticking in 
the center a pretty colored picture of pansies, and on the sides the 
letters which spelled the name of the preparation. 



99. TOILET CREAM NO. 2. 

Designed by B. S. Cooban, Chicago, III. A house-like structure 
was built with a shed roof. This was made of cheap, half-inch 
boards, forming frames that, when put together and covered with 



FOR DRUGGISTS 



163 



muslin, gave a solid appearance. The services of a paperhanger 
were called in, and he fixed up quite a pretty little room ; the ceiling 
was paneled and the side walls had quite a wide frieze, with a strip 
of red paper bordered with narrow gold molding. 

A display stand in the form of steps was fitted in the right- 
hand corner and was covered with maroon-colored cheese-cloth. 




99. Display of Toilet Cream by B. S. Cooban. 



Another one was put in the other corner rising against the back, 
and a pyramid was put in the center; both were likewise covered 
with maroon cheese-cloth. The floor of the window was covered 
with white cheese-cloth. The corner steps and the pyramid in the 
center were used for the cooling cream, and the smaller steps for 
the cold cream. Piles of each were scattered around on the bottom. 



WINDOW DISPLAYS 165 

100. TOILET CREAM NO. 3. 

Designed by H. M. Curry, Ellsworth, Kansas. This window 
was used to exploit "Hazel Cream," a home-made specialty, and it 
may be mentioned in passing that the several placards about the 
window, also bearing upon the merits of the product, were them- 
selves painted by Mr. Curry. 

A low background, 20 inches high, was built of 1x4 lumber, 
covered with muslin, and painted a light green with alabastine. 
The square frame behind the pyramid of toilet cream was made 
of wood covered with a 9-inch wall-paper border of roses and 
violets. The round sign, "Hazel Cream," surmounting the apex of 
bottles, was made by cutting the letters out of a heavy red card 
and covering the back of the card with tissue-paper so as to make 
a transparency. At night an electric light, placed behind this sign, 
made it particularly effective as a transparency. 

The four easel signs arranged on either side of the pyramid 
of hazel cream were painted on white cards in red and black. The 
pyramid for the cream was built of semicircular shelves of wood 
and heavy cardboard, supported on empty cigar boxes and covered 
with white cheese-cloth. 



101. TONIC. 

Designed by Boericke & Runyon, Los Angeles, California, "C. 
C. C. Tonic," a Boericke & Runyon product, is the theme of the 
display, and it will be seen that the central idea of the trim is an 
ingenious play upon the word "constitution." A document repre- 
senting the constitution of the United States is placed upon a flag- 
covered pedestal, and the legend on the large placard tells the 
story. Bottles of the tonic are placed in the window to complete 
the tale. 

The constitution of course had to be rigged up for the occa- 
sion. A roll of stiff white paper was made; it was tied with a 
documentary red ribbon and fastened with a plain gold seal; and 
the legend, "Constitution of the United States," was then printed 
on in old English letters. The large flag was borrowed for the 
occasion, and was draped over a box in a manner sufficiently shown 
by the illustration. Huckleberry branches were placed in jars as a 



WINDOW DISPLAYS 167 

background for the window, but these may be used or omitted, as 
one's taste may dictate. 

The bottles of the tonic — not too many of them — were scat- 
tered around the window floor, and at the left hand there was 
also a pile of circulars exploiting the product, with a placard just 
behind them bearing this announcement : "These circulars tell you 
all about it — come in and get one." 



102. TOILET REQUISITES. 

Designed by J. Earl Taylor, Gridley, III. Two steps, elevated 
from the floor of the window, are carpeted with a white cloth. 
The first row of articles includes an assortment of dentifrices and 




_,, _ ._ — H -__ . - 3_ 

102. Display of Toilet Requisites by J. Earl Taylor. 

talcum powders, showing an array of attractive packages. The step 
above exhibits combs, brushes, and other toilet accessories. The 
top row displays a number of shaving requisites. The pots of ferns 
serve to enhance the general artistic appearance of the window. 



168 WINDOW DISPLAYS 

103. TOOTH-BRUSHES NO. 1. 

Designed by F. H. de la Rue, Guernsey, England. This design 
is similar to window No. 103, contributed by H. F. Ruhl, of Man- 
heim, Pa. The handle of the large tooth-brush was sawed out of 
a plank and then finished and labeled. The tooth-brushes proper, 




103. Display of Tooth-brushes by P. 



de la Rue. 



representing bristles of the large brush in this case, were inserted 
in holes. One of the placards read as follows : "If a Tooth-brush 
Costing 1 Shilling Sheds Its Bristles in One Month, Come Back 
for a New One." The other legend was: "Our Shilling Tooth- 
brushes Cannot be Beaten at the Price." 



104. TOOTH-BRUSHES NO. 2. 

Designed by G. Claude Drake, Ann Arbor, Mich. The three 
rows of suspended brushes were fashioned by stretching pairs of 
cords across the window and twisting the brushes in them as 
shown by the engraving. In the center of the window, on the 
floor, was a raised platform covered with imitation oak flooring; 
and on this were a family of dolls, with tooth-brushes in hand, 
placed about small mirrors and a bureau. This feature of the 




e 



170 WINDOW DISPLAYS 

display is not very clearly indicated by the illustration. Elsewhere 
on the window floor boxes of tooth-brushes were placed. A card 
hanging suspended above the dolls bore this statement : "We Came 
all the Way from the Racket [evidently a local reference] to Tell 
You that We Always use Quarry's Warranted Brushes and Wish 
Our Friends to Do So." A large placard at the left of the window 
read as follows : "Quarry Guarantees all Brushes Having his 
Name Stamped on the Handle." During the week that the display 
was being made in the window a display adv. was kept running in 
the daily papers bearing this announcement: "Tooth-brushes — All 
Kinds — All Shapes — All Prices. See Window Display in Quarry's 
Campus Drug Store." 

"Clean Teeth the Spirit of the Times. We are Trying to Help 
it Along" — this was printed on the window-pane, as may be seen 
from the engraving. A mixture of whiting, acacia, and water was 
used for the purpose ; and this can be made of any color by the 
admixture of dry colors added to the whiting before it is mixed 
with the water. Mr. Drake says that "during the first day this dis- 
play was in the window we sold more tooth-brushes than in any 
week of the previous history of the store !'' 

Pretty good record, wasn't it? 



105. TOOTH-BRUSHES NO. 3. 

Designed by H. F. Ruhl, Manheini, Pa. The central feature of 
this window was quite clever. It was a monster tooth-brush com- 
posed in the following manner : The handle was made of soft pine, 
and was 6J/2 feet long, 6 inches wide, and V/ 2 inches thick. The 
board was first cut into a shape like the handle of a tooth-brush, 
and then the edges were carefully rounded and sand-papered. 
Tooth-brushes were afterwards placed in it in such manner as to 
represent bristles. For this purpose holes three-sixteenths of an 
inch in diameter were first made in the board, and with a chisel 
were enlarged in size and shape in order to fit the ends of the 
tooth-brush handles. About 100 brushes were required. Mr. Ruhl 
informs us that soft wood must be used. The tooth-brushes will 
not remain in proper position unless the wood is so soft that the 
handles can be forced into the holes. The position of the brush 
in the window is shown by the illustration, and it is only necessary 
to add that the floor of the window was covered with tooth-brushes 



thrown in carelessly, 
floor read as follows : 



FOR DRUGGISTS 



171 



A placard braced up in the center of the 
"If a brush costing 25 cents or more sheds 




105. Display of Tootk-Tbruslies by H. P. ItuM. 

its bristles in two months, come back for a new one!" Mr. Ruhl 
says that the display attracted a great deal of attention and sold a 
large number of brushes. 



106. TOOTH-BRUSHES NO. 4. 

Designed by J. T. Pepper, Woodstock, Ontario. Mr. Pepper 
thus describes the window : 

"The design of this window display was a spider's web made of 
heavy light-colored manila twine, two balls of which I bought from 
my wholesale druggist at fifteen cents each. I used one and a small 
part of the second, so you see that the material to produce this 
display was not expensive. 

"I took a hoop from a sugar barrel, and a smaller one from a 
keg ; the smaller hoop I placed inside the larger one, so that the two 
circles were about four inches apart. These I covered with white 
cheese-cloth, although I think now that it would have looked better 



172 



WINDOW DISPLAYS 



if the cloth had been colored pale pink or blue. Across the two 
circles we fastened many tooth-brushes about two inches apart with 
twine. This comprised the center of the spider's web, and as for 




106. Display of Tooth-brushes by J. T. Pepper. 



the rest the accompanying illustration will show the design better 
than it can be described in words. 

"In the center of the smaller circle we suspended with invisible 
wire a bottle of our own tooth-powder. The central design itself — 



FOR DRUGGISTS 173 

the hoop — we suspended with our manila twine in the center of our 
window about two feet back from the glass. At the side opposite 
to which the first string was tied to hold this design up in the win- 
dow, we fastened another string to hold it taut and attached it to 
the bottom of the window. In a similar way we fastened strings to 
either side of the circle and tied these to the sides of the window, so 
that this central design was held quite firmly in the center of the 
window space about two feet from the plate glass. 

"The radiating lines of the cobweb were made by fastening 
strings to the outside circle and leading these, equally distant from 
one another, to the window frame, and tying them there to small 
nails driven into the wood near the glass. On these radiating 
strings the circular strings to the cobweb were attached, and at each 
intersecting point a loop knot was made and the tooth-brush held 
in position by putting it in this loop and tightening the string. It 
is a very simple act and answers the purpose admirably. 

''The making of the cobweb looks like a lot of work, but in 
reality it was easily and quickly done. By having the centerpiece 
of the cobweb about two feet away from the glass, and the radiating 
lines leading from that to the sides of the window-frame near the 
glass, the structure presents a concave appearance to the onlookers 
from the outside, and no matter on what part of the cobweb the 
■eye of the passer-by may fall, it naturally and unconsciously follows 
the radiating lines to the center. 

"'On the floor of the window we placed tooth-brushes, tooth- 
powders, tooth-pastes, and liquid preparations for the teeth." 



107. TOOTH PRODUCT NO. 1. 

Designed by B. S. Cooban, Chicago, Illinois. A three-inch strip 
■of wood at the back, and about six feet from the floor of the win- 
dow, and covered with cloth, was draped with blue and white cheese- 
•cloth, made to hang in festoons, with the two colors alternating. 
The accompanying illustration clearly shows the arrangement, but 
not the colors, of course. The floor of the window was covered with 
white cheese-cloth. In the center a square base about six inches 
"high was made from a box covered with blue cheese-cloth, and on 
this stood the design of a large bottle of the powder; this was cut 
:from heavy pasteboard and transformed into a fairly good repro- 



174 



WINDOW DISPLAYS 



duction of a bottle of the product by a sign painter. At either end 
of the window was a step pyramid, made from various sized boxes ; 
this was covered with white cheese-cloth, and a strip of blue cloth 
was puffed down the corners and sewed in position. These pyramids 
were used to display bottles of the powder; and other bottles of it, 
as well as tooth-brushes, were scattered about the floor of the win- 




107. Tooth Product Window by B. S. Cooban. 



dow in a careless fashion, as though we had lots of them. Bottles 
were suspended from the strip at the back, and also from the electric 
light fixtures. Two strings of brushes were festooned diagonally 
across from corner to corner; and the two signs seen in the illus- 
tration completed the display. It made a very pretty window, and 
attracted much attention. 



FOR DRUGGISTS 175 

108. TOOTH PRODUCT NO. 2. 

Designed by Joseph F. Hostelley, Colling dale, Pa. A light nov- 
elty sewing basket of the table variety was borrowed from the ladies 
at home and made to support a choice potted begonia in a large jar- 
diniere in the center of the window space. About the sides of this 
vessel a row of the dentifrice was rested. Bottles of the preparation 
were piled around the base of the table. To the right and left of 
the center, the tooth-wash was stood on pasteboard boxes labeled 




108. Tooth Product Window by Joseph P. Hostelley. 

just as the bottles were. Some of the bottles were wrapped in a 
glossy, wine-colored paper, the rest were unwrapped. The framed 
sign hanging over the exhibit reads : "Verolia's Exquisite Venetian 
Dentifrice. Price 25 cents. White Teeth — Hard Gums — Sweet 
Breath." The background for the trim is formed of two draped 
curtains of white cheese-cloth before a flowered curtain of some 
light, thin material stretched entirely across the back of the window. 
The window floor is covered with white cheese-cloth. Size of dis- 
play space, 2x5 feet. 
12 



WINDOW DISPLAYS 177 

109. TOOTH PRODUCT NO. 3. 

Designed by Boericke & Rnnyon, Los Angeles, Cal. The cut is 
unfortunately poor, but it is after all clear enough to show the cen- 
tral idea of the display — an idea which was certainly a very clever 
one. A large map was hung in the back of the window, and baby 
ribbon was run from various places on it to the bottles at the left 
containing the several ingredients entering into the manufacture of 
the "Listerol Dentifrice'' being advertised. The large placard gives 
the key to the situation : "The Whole World is Drawn Upon for 
Ingredients for Listerol Dentifrice/' Camphor was shown to come 
from Yokohama, oil of rose from Constantinople, sugar from Hon- 
olulu, orris root from Florence, and so on through the list. The 
finished product was exhibited at the right of the window. There 
was a heap of white powder on a sheet of paper, and around this 
were placed the bottles of the powder and the tubes of the paste. 



110. TOOTH PRODUCT NO. 4. 

Designed by Andrew R. Cunningham, Detroit, Mich. The 
framework of the central design was made in this way : Two lines 
of narrow, thin strips of wood, four inches or so apart, were bent 
in a half-circle and fastened in that shape by means of crosspieces 
nailed on at every four inches. This frame was perhaps eight feet 
long and four feet high. This makes a design too large for many 
windows, but Mr. Cunningham's, however, is large enough to ac- 
commodate it easily. 

The cloth was plain cheese-sacking in red, white, and blue. It 
was made to cover the frame entirely, so that the woodwork at the 
back would not be seen when the design was viewed from the inside 
of the store. The half-circular sign seen in the center was part of 
a barrel head, painted white, with the words, "Diamond Tooth 
Powder, 25c," painted in black. Composed of wood, it was heavy 
enough to hold the drapery back in the center, and to permit of the 
latter being hung in graceful folds. 

Mr. Cunningham calls his preparation "Diamond tooth-powder," 
and to concentrate attention upon this brand name a number of 
bottles of the powder were arranged in the form of a diamond just 
in front of the converted barrel-head ; and on either side was a box 
of tooth-brushes, supported at an angle. More bottles of the powder 



178 



WINDOW DISPLAYS 



were also arranged in diamond form at either end of the window, 
and in the center of each of these groups another box of brushes 
was placed, supported at an angle, as were those in front of the 
drapery. And, besides these several boxes of brushes, individual 
brushes were fastened on to the framework, as may be seen by the 
illustration. 

The general effect of the display was pleasing and attractive, 
and had that simplicity which is essential to good results. Possibly, 




110. Tooth Product Window by Andrew R. Cunning-ham. 

however, if the framework of the central design had been diamond 
in shape instead of semicircular, thus concentrating attention still 
more upon the brand name of the product, the display would have 
been improved ; still, without this, it was an uncommonly good and 
striking display, and it accomplished that for which it was intended 
— it sold the goods ! 

The whole thing — framework, cheese-cloth, and all — cost but 
$1.19. 



INDEX 



A 

PAGE 

Absorbent cotton — see Surgical Goods. 

Articles advertised in the magazines 21 

B 

Baby supplies 23 

Bath requisites 25 

Bottles, hot water 79, SI 

C 

Calendars for window displays 12, 15 

Camphor 25 

Candy 25, 29, 159 

Cards, playing 106 

Castile soap 29, 31 

Christmas windows 31, 33, 36, 39 

Cigars 40, 41, 43 

— see also Smokers' Supplies. 
Cold cream — see Toilet Cream. 

remedies — see Cough Cures. 
Confectionery — see Candy. 

Corn cure 43, 45, 47 

Cough cure 49, 51, 52, 54 

D 

Dandruff cure — see Hair Tonic. 

Decoration Day window 56 

Dentifrices — see Tooth Products. 

DOLLAR IDEAS FOR DRUGGISTS— a new book 4 

Drugs 57 

— see also Laboratory Windows, Licorice Prescriptions, etc. 
Dyspepsia cure 57 

E 

Easter windows . . 59, 61, 64, 67 

Effervescent salts 67 

Egg dyes — see Easter Windows. 

179 



180 INDEX 

PAGE 

Essences, flavoring - 73, 75 

Euthymol Tooth Paste 69 

F 

Ferris "wheel in the window 72 

Flavoring - extracts 73, 75 

Fountain windows 125, 127 

H 

Hair tonic 75, 77 

Holiday windows — see Christmas, Decoration Day, Fourth of 
July, etc. 

Hot water bottles 79, 81 

Housecleaning products 81 

K 

Kreso 83 

Kreso Dip 85 

L 

Laboratory windows 85, 89 

— see also Drugs, Pharmaceutical Windows, and 
Prescription Windows. 

Licorice 91 

Lighting the window 8 

Liniment 92 

Loofahs 93 

M 

Magazines 21, 93, 96 

Massage cream 97 

— see also Toilet Cream. 

o 

Olive oil 99 

P 

Perfumery 65, 66, 67, 99, 102 

Pharmaceutical window 105 

— see also Drugs, Laboratory Windows, and 
Prescription Windows. 

Photographic supplies 106 

Placards for the window 19 

Playing cards 106 

Points to observe in window dressing 17 

Postal cards, souvenir 109, 110 



INDEX 181 

PAGE 

Prescription windows Ill, 112, 113 

— see also Drugs, Laboratory Windows, and 
Pharmaceutical Windows. 
Price marks on the goods 18 

R 

Rubber goods — see Hot Water Bottles. 

s 

Sarsaparilla 115 

— see also Specialties. 

Scenic effects in the window 9 

School supplies 117, 119 

Shampoos — see Hair Tonic. 

Shaving soap 120 

supplies „ 119 

Show cards for the window 19 

Sick-room supplies 122 

— see also Surgical Goods. 

Smokers' supplies 123 

— see also Cigars. 
Soap — see Castile Soap. 

Soaps 125 

Soda windows 125, 127 

Souvenir post cards 109, 110 

Specialty windows 129, 133, 135 

— see Cough Cure, Corn Cure, Dyspepsia Cure, Hair 
Tonic, Headache Remedy, Liniment, Massage 
Cream, Sarsaparilla, Spring Tonic, Toilet Cream, 
and Tooth Products. 

Spices 137 

Sponge windows — see Loofahs. 

Sponges 137, 141, 143 

Spring tonic 143, 145 

— see also Specialties. 

Stationery 146, 147 

Surgical goods 149 

— see also Sick-room Supplies. 

T 

Talcum powder 151, 155"' 

Telephone order business 159 

Thanksgiving candy window. . . : 159 

Theater in the window, a 97 

Toilet articles — see Perfumery. 

cream 161, 162, 165 

— see also Massage Cream. 

requisites 167 



182 INDEX 

PAGE 

Tonic 165 

— see also Specialties. 

— see also Spring Tonic. 
Tooth brushes 168, 170, 171 

product windows 173, 175, 177 

— see also Euthymol Tooth Paste and Specialties. 
Trimming the window 7 

V 

Vanilla and other extracts 73, 75 



A NEW BOOK: 

"350 Dollar Ideas 
for druggists' 

Edited by HARRY B. MASON. 



' jj 



Indulging in no exaggeration, weighing our words 
carefully, we honestly believe no druggist can afford 
to be without this book. It is crammed full of the 
most useful, the most valuable, the most profitable 
ideas that could possibly be brought together. 

Here is the table of contents : 

1. Dispensing and Compounding Ideas. 

2. Practical Devices for the Store. 

3. Money-making Formulas. 

4. Advertising Schemes. 

5. Store and Window Displays. 

6. The Soda Fountain. 

7. Bookkeeping and Accounting Suggestions. 

8. The Prescription Department. 

9. Souvenir Post Cards. 
10. Miscellaneous Ideas. 

These 350 Ideas have been contributed by almost 
as many druggists. Every one has been worked out 
in actual practice. Every one has been subjected to 
successful trial. We paid $350.00 for these ideas — 
you get them for $ 1 . 

The book is a companion to " Window Displays 
for Druggists" — same size, same binding. 



SEjrSTT POST=PAID FOR $1.00. 



E. G. SWIFT, Publisher, - Detroit, Mich. 



WAR IS 1910 



One copy del. to Cat. Div. 



LIBRARY OF CONGRESS 



III 



11 



021 048 276 3 




